various popular songs/tunes for harmonium/keyboards

Song Notations: Tu Meri Adhuri Pyas Pyas - Film Ghazani

Hmmmmm Mm…

Tu Meri Adhuri Pyas Pyas, Tu Agayi Mann Ko Ras Ras, Aab Tho...
.A .AEDEG___.BD.B .B__ .A .AEDEG_____ .BD.B .B__ .B.A.A~

Tu Meri Adhuri Pyas Pyas, Tu Agayi Mann Ko Ras Ras
.A .AEDEG____.BD.B .B___.A .AEDEGE_______.BD.B .B

Aab Tho Thu Aaja Pass Paaaas, Hain Guzaaarish
.A.A.A EDEG____.BD.B .B______ C.BCE~~

Hain Haal To Dil Ka Tang Tang, Thu Rang Ja Mere Rang Rang
.A .AEDEG________.BD.B .B___.A .AEDEG______.BD.B .B

Bas Chalna Mere Sang Sang, Hain Guzaaarish
.A .AEDEG_____.BD.B .B____ C.BCE~~

Kehde Thu Han Tho Zindagi, Chainon Se Chhutke Hasegi
FEDD_______CDED________EDCC C.B CEC

Moti Hunge Moti Rahon Meinnn, Yeh Yeh Yeh
.B.B__.B.B__.B.B__.B-EDE~_______EDDCCA

Tu Meri Adhuri Pyas Pyas, Tu Agayi Mann Ko Ras Ras
.A .AEDEG_____.BD.B .B__.A .AEDE.G______.BD.B .B

Aab Tho Thu Aaja Pass Pas..., Hain Guzaaarish
.A.A.A EDE EG___GFFED_____C.BCE~

Sheeshe Ke Khwaab Lekke, Raaton Mein Chal Raha Hon
DC DC____DC_____DE___DC DC______DCDE

Takra na Jao Kahin...
GGED___C.A.G .AC~.A

Aasha Ki Lon Hain Roshan, Phir Bhi Toffan Ka Dhar Hain
DCDC______DC___DE____ DCDC______DCDE

Lon Bhuj Na Jaye Kahin...
G~ED______C.A.G.AC.A~

Bas Eak Haan Ki Guzaarish, Phir Hogi Khusiyon Ki Baarish
DDG___GF___E(CDC)_____DDG_____GF_____E (CDC)

Tu Meri Adhuri Pyas Pyas, Tu Agayi Mann Ko Ras Ras
.A .AEDEG____.BD.B .B___.A .AEDEG______.BD.B .B

Aab Tho Thu Aaja Pass Paaaas, Hain Guzaaarish
.A.A.A EDEG____.BD.B~______CBC E~

Hmmm Mmm Mm Mmm Mmm Mm Mmm Hmmmmm Mm…

C.B.A.G.A.B.A .G.A.B.G .F .E.F.G.E

Oho Ohhhhhhhhhh Oho Ohhhhhhhhh.

Chanda Hain Aasman Hain, Aur Badal Bhee Gane Hain
DC_DC_____D~CDE_______DC DC_______DCDE

Yeh Chandaaa Chup Jaye Na...
EG~ED______C.A.G .G.A

Tanhayi Das Rahin Hain, Aur Dhadkan Bad Rahi Hain
DC__DC___ D~CDE_____ DC_ DC_____ DCDE

Eak Pal Bhi Chain Aaye Na...
GED_____C____.A.G.AC.A

Kaisi Aajab Dastaan Hain, Bheechainiyan Baas Yahan Hai
DD__GG___FECDC______DD___GG____FECDC

Tu Meri Adhuri Pyas Pyas, Tu Agayi Mann Ko Ras Ras
.A .AEDEG____.BD.B .B___.A .AEDEGE_____.BD.B .B

Aab Tho Thu Aaja Pass Paaaas, Hain Guzaaarish
.A.A.A EDEG_____.BD.B~______C.BCE~~

Hain Haal Tho Dil Ka Thang Thang, Thu Rang Ja Mere Rang Rang
.A .AEDEG_________.BD.B .B_____.A .AEDEG_______.BD.B .B

Bas Chalna Mere Sang Sang, Hain Guzaaarish
.A .AEDEG_____.BD.B .B____C.BCE~~

Kehde Thu Han Tho Zindagi, Chainon Se Chhutke Hasegi
FEDD_________CDED______EDCC C.B CEC

Moti Hunge Moti Rahon Meinnn, Yeh Yeh Yeh
.B.B_.B.B__.B.B_.B-EDE~______EDDCCA

Tu Meri Adhuri Pyas Pyas..
.A .AEDEG_____.BD.B~

Hmmm Mmm Mm Mmm Mmm Mm Mmm Hmmmmm Mm…

Oho Ohhhhhhhhhh Oho Ohhhhhhhhh..


Happy Birthday, (with rythmn & chords)

Rythmn: Any fast beat sounds good.
Tempo: 90 to 110
Using single finger chords with acompaniment will enhance the performance.

The chords (below):-

Happy birthday to you
GG A G c B~
G
Happy birthday to you
GG A G d c
G C
Happy birthday dear _______
GG g e c BA~
G Am
Happy birthday to you
ff e c d c
F C
May God bless you
GA~G c B~
G
May God bless you
GA~G d c
G C
Happy birthday dear ______
GG g e cc BA~
G Am
Happy birthday to you
ff e c d c~
F C


Keyboard notations: Surili Akhiyon Wale, Film: Veer
Scale: C# minor


Music: G# G#BF# F#BE ED#F# -- 6 times


Surili aanhkiyon wale
G#G#B BB BF#F# G#F#E

Suna hai teri aankhiyon se
G#G#B BB BF#~F# G#

Beh ti hai neendein aur neendon mein sapne
G#~B B Bc#c#B Bc# c#d#d# d# d#c# d#c#B

Kabhi to kinare pe
G# G#BB BBF#F# G#F#E

U tar mere sapno se
G# G#B BB c#BG#F# G#F#E

Aaja zameen pe aur mil ja kahin pe
G#B BBc# c#B Bc# c#d#d# d#d#c# d#c#B

Mil ja kahin
bd# f#e~~

O oo O
ef#f#g# f#eg#f# ed#

Mil ja kahin Samay se pare
e d# f#e eed# f#e Bc#B

Samay se pare
ee e f#f#g#f#e

Mil ja kahin
ed#f#e Bc#B

Tu bhi aankhiyon se kabhi meri aankhiyon ki sun
Bc# ddc# B c#c# BA BB AG# F#


Music: G# G#BF# F#BE ED#F#


Surili aanhkiyon wale
G#G#B BB BF#F# G#F#E

Suna hai teri aankhiyon se
G#G#B BB BF#~F# G#

Jane tu kahan hai
G#AB AB G#F#E

Udti hawa pe tere
EE Eec#c# ec# c#BA

Pairo ke nishan dekhe
d#c# c#d#d# f#d#c#BA c#B

Jane tu kahan hai
G#AB ABBBB G#F#E

Udti hawa pe tere
EE Eec#c# ec# c#BA

Pairo ki nishan dekhe
d#c# c#d#d# c#d#c#BA c#B~

Dhondha hai zameen pe
G#AB~ ABBBB G#F#E

Jana hai falak pe
EE E Ee c#

Sare aasmaan dekhe
d#c# c#d# d#f# d#c#BA c#B

Mil ja kahin
ed# f#e~

Samay se pare
ee c# f#e c#B

Samay se pare
ee e f#f#g#f# ef#ed#

Mil ja kahin
ed# f#e Bc#B

Tu bhi aankhiyon se kabhi meri aankhiyon ki sun
Bc# ddc# B c#c# BA BB AG# F#


Everytime I look into your eyes
F#G#G#G#G#G#G#B F#

I see my paradise
F#B E ED#F#

Stars are shining right up in the sky
F#G#G#G#G#G#G# B F#

Painting words of desire
F#B E ED#F#

Can this be real (can this be real)
E c#B G#

Are you the one for me (are you the one for me)
E E c#Bc# G#

You captured my heart
E c#BB c#d#G#

My soul on Earth
ed#G#F#

You are the one waiting for
EEC#EEF#G# G#F#


Everytime I look into your eyes
F#G#G#G#G#G#G#B F#

I see my paradise
F#B E ED#F#

Stars are shining right up in the sky
F#G#G#G#G#G#G# B F#

Painting words of desire
F#B E ED#F#


Ooth mein chupke
G#G# A BB

Dekh rahe the
G#G# A c#c#

Chand ke peeche peeche the
A~AA F#A~ F#ED AA G#

Ooth mein chupke
G#G# A BB

Dekh ra he the
G#G# A c#Bc#

Chand ke peeche peeche the
A~AA F#A~ F#ED AA G#

Sara jahan dekha
G#G#AB c#BG#F#E

Dekha na aankhon mein
E EE ec# c#B Bc#

Palkon ke neeche the
ed# d#c# d#c#BA ABc# B

Aa chal kahin
ed# f#e

Samay se pare
eed# f# Bc#B

Samay se pare
ee e f#~f#g#f#e

Chal de kahin
ed# f# Bc#B

Tu bhi aankhiyon se kabhi meri aankhiyon ki sun
Bc# ddc# B c#c# BA BB AG# F#


Music: G# G#BF# F#BE ED#F#


Surili aanhkiyon wale
G#G#B BB BF#F# G#F#E

Suna de zara aankhiyon se
G#G#B BB BF#~F# G#

Surili aanhkiyon wale
G#G#B BB BF#F# G#F#E

Suna de zara aankhiyon se
G#G#B BB BF#~F# G#


Song notations: Ek Pyar Ka Nagama Hai, Film: Shor, 1972


Music (Violin):
DEF#_DEF#_F#GA_A_(F#GA)
c#--BAGF#E__A-G-AF#__A-G-AF#
.AF#.AF#.AGEC#
.AF#.AF#.AGEC#D

(Piano or any suitable voice):

Ek pyar ka nagma hai,_ maujon ki ravaani hai
DEF#_G_AGGF#~F#_DEEF#F#_GAGGF#-F#

Zindagi aur kuch bhi nahin
F#GAc#.__BAGAB~

Teri meri kahaani hai
AGF#EA_AGBAGF#

Ek pyar ka nagma hai,_ maujon ki ravaani hai
DEF#_G_AGGF#~F#_DEEF#F#_GAGGF#-F#

Zindagi aur kuch bhi nahin
F#GAc#___BAGAB~

Teri meri kahaani hai
AGF#EA_AGBAGF#

Ek pyar ka nagma hai
DEF#_G_AGGF#~F#


Music:
deBdf#g____f#f#__f#eef#
f#adc#bb~~g
ac#.~ac#.aaa~


Vocal:
deBdf#g___f#f#f#BBf#

--Female--

Kuch paakar khona hai,____ kuch khokar__ paana hai
ad.d.d.___d.e.d.c#.c#._a__d.d.d._______d.f#.e.d.c#.

Jeevan ka matlab to_____ aana aur jaana hai
ac.c.____c.d.c.baab_______bd.bd.d.c#.abaa.f#.

Do pal ke__ jeevan se
deef#______f#gaggf#f#

Ek umr______ churaani hai
deef#f#g_______aggf#f#

--MALE--

Zindagi aur kuch bhi nahin
F#GAC#.__BAGAB~

Teri meri kahaani hai
AGF#EA_AGBAGF#

--BOTH--

Ek pyar ka nagma hai
DEF#_G_AGGF#~F#

--MALE--

Tu dhaar hai nadiya ki,___ main tera kinaara hoon
Ad____d___dedc#c#______Add_____ddf#edc#

--FEMALE--

Tu mera sahaara hai,__ main tera sahaara hoon
Acc____ccdcBAAB_____BdBdd____c#ABAAF#

Aankhon mein samandar hai, aashaaon ka paani hai
DE_EF#F#__GAGGF#_F#_ DE_EF#F#_GAGGF#_F#

Zindagi aur kuch bhi nahin
F#GAc#___BAGAB~

Teri meri kahaani hai
AGF#EA_AGBAGF#

--BOTH--

Ek pyar ka nagma hai
DEF#_G_AGGF#~F#

--MALE--

Toofaan to aana hai,____ aakar chale jaana hai
Ad___d__dedcc#c#______Ad___dd___df#edc#

Baadal hai yeh kuch pal ka, chhaakar dhale jaana hai
Ac___cc____cdcBAAB____BdBddc#_____ABAAF#

Parchhaaniyan reh jaati,_____ reh jaati nishaani hai
DE_EF#F#__GAGGF#_F#__ DE_EF#F#_GAGGF#_F#

Zindagi aur kuch bhi nahin
F#GAc#___BAGAB~

Teri meri kahaani hai
AGF#EA_AGBAGF#

Ek pyar ka nagma hai,__ maujon ki ravaani hai
DEF#_G_AGGF#~F#_DEEF#F#_GAGGF#-F#

Zindagi aur kuch bhi nahin
F#GAc#+__BAGAB~

Teri meri kahaani hai
AGF#EA_AGBAGF#

Ek pyar ka nagma hai
DEF#_G_AGGF#~F#


c. or d. means 5th c or d from left for a 61keys, (5 octave) keyboard

Note: You can try variation by transposing the scale to +2 and start from C (ek pyar ka). This way the scale will become more easy to play.

hindu devotional songs/bhajans

Om Jai Jagadish Hare, (Devotional Aarti)


Om jai Jagdish hare Swami jai Jagdish hare
CF F FF F~EFG GA A# cc dcA# AA#G

Bhakt jano ke sankat Daas jano ke sankat
GAG AA# A#A (GA)GF GAG AA# A#A (GA)GF

Kshañ men door kare Om jai Jagdish hare
FFG AGF EFD G G GG AGFEF

Jo dhyave phal pave
GF FE GF FE GFF

Dukh bin se man ka
cd cA#A GF G

Swami dukh bin se man ka
cc cdcA#A GF G

Sukh sampati ghar ave - 2 times
GA GA A#A# A#A (GA)GF

Kasht mite tan ka
FG GAG FE FD

Om jai Jagdish hare
G G GGAG FEF


Mat pita tum mere
Sharan padoon main kiski
Swami sharan padoon main kiski
Tum bin aur na dooja
Prabhu bin aur na dooja
Aas karoon main jiski
Om jai Jagdish hare


Tum pooran Paramatma
Tum Antaryami
Swami tum Antaryami
Par Brahm Parameshwar - 2 times
Tum sabke swami
Om jai Jagdish hare


Tum karuna ke sagar
Tum palan karta
Swami tum palan karta
Main moorakh khalakhami
Main sevak tum swami
Kripa karo Bharta
Om jai Jagdish hare


Tum ho ek agochar
Sab ke pran pati
Swami sab ke pran pati
Kis vidhi miloon Gosai
Kis vidhi miloon Dayalu
Tum ko main kumati
Om jai Jagdish hare


Deen bandhu dukh harta
Thakur tum mere
Swami Thakur tum mere
Apne hath uthao
Apni sharani lagao
Dwar pada hoon tere
Om jai Jagdish hare


Vishay vikar mitavo
Pap haro Deva
Swami pap haro Deva
Shradha bhakti badhao - 2 times
Santan ki seva
Om jai Jagdish hare


Om jai Jagdish hare Swami jai Jagdish hare
Bhakt jano ke sankat Das jano ke sankat
Kshan men door kare Om jai Jagdish hare


Raghupati Raghav Raja Raam

Raghupati raaghav raaja raam,
CF FF F~D#D D#G GA#AA#

Patit paavan sitaram - 2 times
GG#~G F~D#D D#~G#GF

Siitaaraam, sitaram,
FAA A~ A#~A#AA#

Bhaj pyaare tu sita ram - 2 times
GG A#~c c#c G#~GF F

Raghupati raaghav raaja raam,
CF FF F~D#D D#G GA#AA#

Patit paavan sitaram
GG#~G F~D#D D#~G#GF

Iishvar Allah tero naam,
GA AA A A A#~A#A A#

Sab ko sanmati de bhagavaan - 2 times
GGA# c~c#c G# GF F

Raghupati raaghav raaja raam,
CF FF F~D#D D#G GA#AA#

Patit paavan sitaram
GG#~G F~D#D D#~G#GF

Jai Raghunandan, Jai Siyaa Raam,
FA AA A~AA A# A#A A#

Jaanakii Vallabh Siita Raam. - 2 times
G A#A# c~c#c G#~GF F

Raghupati raaghav raaja raam,
CF FF F~D#D D#G GA#AA#

Patit paavan sitaram - 2 times
GG#~G F~D#D D#~G#GF

Rafi-Ji...the undisputed legend at his VERY BEST...babul ki duaayein leti ja, (including Sonu's excellent rendition), bhari duniya mein aakhir dil, rafi-ji, (film: do badan, 1966, manoj kumar/asha parekh) + likhe jo khat tujhe, (film: kanyadaan, 1969, shashi kapoor/asha parekh)

English Translation of 'Ehsaan Tera Hoga Mujh Par'
Movie: Junglee (1961)
Singers: Mohd. Rafi, Lata Mangeshkar
Actors: Shammi Kapoor, Saira Banu

Ehsaan tera hoga mujh par
Dil chahta hai woh kehne do
Mujhe tumse mohabbat ho gayi
Mujhe palkon ki chaaon mein rehne do
Ehsaan tera hoga mujh par...

I would be indebted to you
If you let me tell you what my heart desires
I have fallen in love with you
Please let me dwell in the shadow of your eyelashes
You would be doing me a great favor...

Tumne mujhko hansna sikhaaya
Rone kahoge ro lenge ab
Aansoo ka hamaare gham na karo
Woh behte hai to behne do
Mujhe tumse mohabbat ho gayii hai
Mujhe palkon ki chaaon mein rehne do
Ehsaan tera hoga mujh par...

You were the one who taught me how to laugh
Now, if you ask me to cry, I will
Don't be hurt by my tears
They've already started to flow, so let them fall.
Because I've fallen in love with you
Let me dwell in the shadow of your eyelashes
You would be indulging me...

Chaahe bana do chaahe mitaa do
Mar bhi gaye to denge duwaayen
Udd udd ke kahegi khaak sanam
Yeh dard-e-mohabbat sehne do
Mujhe tumse mohabbat ho gayi hai
Mujhe palkon ki chaaon mein rehne do

Either make it or destroy it
Even if it kills me, I will sing your praises
Flying around, the ashes will say,
"Let me bear the burdens of love."
For I have fallen in love with you
Let me dwell in the shadow of your eyelashes

Ehsaan tera hoga mujh par
Dil chahta hai woh kehne do
Mujhe tumse mohabbat ho gayi hai
Mujhe palkon ki chaaon mein rehne do
Ehsaan tera hoga mujhe par...

I would be indebted to you
If you let me tell you what's in my heart
I have fallen in love with you
Please let me dwell in the shadow of your eyelashes
I would be indebted to you...






Song: Zindagi Bhar Nahin Bhoolegi
Movie: Barsaat Ki Raat (1960)
Performed By: Sonu Nigam
Music Album: Sonu Nigam Tribute To Mohd Rafi





English Translation of 'Zindagi Bhar Nahin Bhoolegi'
Movie: Barsaat Ki Raat
Singer: Rafi
Actors: Bharat Bhushan, Madhubala


Zindagi bhar nahin bhoolegi woh barsaat ki raat
Ek anjaan haseena se mulaaqat ki raat
Zindagi bhar nahin bhoolegi...

I could never forget that one rainy night.
The night when I met an unknown beauty.
I could never forget it for the rest of my life...

Haaye woh reshmi zulfon se barasta paani
Phool se gaalon pe rukane ko tarasta paani
Dil mein toofan uthaate hue
Dil mein toofan uthaate hue jazbaat ki raat
Zindagi bhar nahin bhoolegi woh barsaat ki raat
Zindagi bhar nahin bhoolegi...

Oh, there was water dripping from her silky hair
Even those droplets wanted to linger on her rosy cheeks
She created quite a stir in my heart
It was that same night that she created a stir in my heart
I will never forget it for the rest of my life...

Dar ke bijali se achaanak woh lipatana uska
Aur phir sharm se bhalakhaake simatanaa usakaa
Kabhi dekhi na suni aisi ho
Kabhi dekhi na suni aisi tujismaat ki raat
Zindagi bhar nahin bhoolegi...

She was startled by the thunder and lightning
And then she shyly curled up into a ball
I had never seen or heard anything like this before
I had never seen or heard anything like that enchanting night before
I will never forget it for the rest of my life...

Surkh aanchal ko dabaakar jo nichoda usne
Dil pe jalta hua ek tiir sa chhoda usne
Aag paani mein lagaate hue
Aag paani mein lagaate hue halaat ki raat
Zindagi bhar nahin bhoolegi...

She wrung her red shawl trying to dry it
It was as though she had sent a fiery arrow through my heart
She ignited a fire in the water of those storms
It was in that same night that she started a fire in the water
I will never forget it for the rest of my life...

Mere nagmo mein jo basati hai woh tasveer thi woh
Naujavani ke haseen kyaab ki tabir thi woh
Aasmaanon se utar aayi ho
Aasmanon se utar aayi thi jo raat ki raat
Zindagi bhar nahin bhoolegi woh barsaat ki raat
Ek anjaan haseena se mulaqaat ki raat
Zindagi bhar nahin bhoolegi...

Her image lies in all my songs
She is the completion of all my youthful dreams.
She has descended from the heavens
She has descended from the heavens on this night of nights
I could never forget that rainy night
The night when I met an unknown beauty
I could never forget it for the rest of my life.





Bhari duniya mein aakhir dil ko samjhaane kahaan jaayen/2
Mohabbat ho gayi jinko, wo deewaane kahaan jaayen
Bhari duniya mein aakhir dil ko samjhaane kahaan jaayen
Bhari duniya


Lage hai shamma par peherey, zamaane ki nigaahon ke/2
Zamaane ki nigaahon ke
Jinhen jalne ki hasrat hai
Jinhe jalne ki hasrat hai, wo parwaane kahaan jaayen
Mohabbat ho gayi jinko, wo deewaane kahaan jaayen
Bhari duniya mein aakhir dil ko samjhaane kahaan jaayen
Bhari duniya


Sunaana bhi jinhe mushkil, chhupaana bhi jinhe mushkil/2
Chhupaana bhi jinhe mushkil
Zaraa tu hi bataa aye dil
Zaraa tu hi bataa aye dil, wo afsaane kahaan jaayen
Mohabbat ho gayi jinko, wo deewaane kahaan jaayen
Bhari duniya mein aakhir dil ko samjhaane kahaan jaayen
Bhari duniya


Nazar mein uljhanen dil mein, hai aalam beqaraari ka/2
Hai aalam beqaraari ka
Samajh mein kuchh nahin aataa
Samajh mein kuchh nahin aataa, sukoon paane kahaan jaayen
Mohabbat ho gayi jinko, wo deewaane kahaan jaayen
Bhari duniya mein aakhir dil ko samjhaane kahaan jaayen
Bhari duniya


==================================================


Bhari duniya mein aakhir dil ko samjhanay kahan jayein
WHERE SHOULD I, IN THIS WHOLE WORLD, GO TO PERSUADE MY HEART,

Muhaabat ho gayi jin ko wo diwaane kahan jayein
TO WHOM SHOULD THOSE CRAZY ONES TURN, WHO HAS FALLEN IN LOVE,

Bhari duniya mein aakhir dil ko samjhanay kahan jayein
WHERE SHOULD I, IN THIS WHOLE WORLD, GO TO PERSUADE MY HEART,

Laghein hein shama per pehre zamana key nigahoon kay
THERE HAS BEEN THE WATCH OF PEOPLE'S EYES, ON THE LOVE,(2)

Zamaney key nigahoon kay
OF THE PEOPLE'S EYES,

Jinhein jalney ki hasrat hay
ONE WHO HAS THE INTENSE UNFULFILLED DESIRE TO BURN,

Jinhein jalne ki hasrat hay wo perwaney kahan jayein
WHERE SHOULD THEY GO, ONE WHO HAS THE INTENSE UNFULFILLED DESIRE TO BURN,

Muhaabat ho gayi jin ko wo diwaane kahan jayein
TO WHOM SHOULD THOSE CRAZY ONES TURN, WHO HAS FALLEN IN LOVE,

Bhari duniya mein aakhir dil ko samjhanay kahan jayein
WHERE SHOULD I, IN THIS WHOLE WORLD, GO TO PERSUADE MY HEART,

Sunaana bhi jinhein mushkil chuppana bhi jinhein mushkil
WHICH ARE DIFFICULT TO LISTEN, AND WHICH ARE HARD TO HIDE (2)

Chuppana bhi jinhein mushkil
WHICH ARE HARD TO HIDE/SUBJUGATE,

Zara to hi bata aye dil
OH MY HEART JUST TELL ME,

Zara to hi bata aye dil wo afsaane kahan jayein
OH MY HEART JUST TELL ME, WHERE SHOULD THOSE TALES GO?

Muhaabat ho gayi jin ko wo diwaane kahan jayein
TO WHOM SHOULD THOSE CRAZY ONES TURN, WHO HAS FALLEN IN LOVE,

Bhari duniya mein aakhir dil ko samjhanay kahan jayein
WHERE SHOULD I, IN THIS WHOLE WORLD, GO TO PERSUADE MY HEART,

Nazar mein uljhanein dil mein hay aalam beqaarari ka
ENTANGLES IN EYES, AND WORLD OF HEART IS RESTLESS,(2)

Hay aalam beqaarari ka
THE WORLD OF HEART IS RESTLESS,

Samajh mein kuch nahi aata
IT'S BEYOND THE PERCEPTION,

Samajh mein kuch nahi aata sukoon paney kahan jayein
IT'S BEYOND THE PERCEPTION NOW, WHERE SHOULD ONE GO TO HAVE PEACE AND REST,

Muhaabat ho gayi jin ko wo diwaane kahan jayein
TO WHOM SHOULD THOSE CRAZY ONES TURN, WHO HAS FALLEN IN LOVE,

Bhari duniya mein aakhir dil ko samjhanay kahan jayein
WHERE SHOULD I, IN THIS WHOLE WORLD, GO TO PERSUADE MY HEART?!

Likhe Jo Khat Tujhe Woh Teri Yaad Mein is a superhit hindi song from 1969 movie Kanyadaan starring Shashi Kapoor and Asha Parekh.

Music Director: Shankar Jai Kishan
Singer: Mohammed Rafi (Mohd Rafi)



Likhe jo khat tujhe
woh teri yaad mein
hazaaron rang ke
nazaare ban gaye

Sawera jab huya
to phool ban gaye
jo raat aayi to
sitaare ban gaye

Koyi nagma kahin goonja
kahan dil mein
yeh tu aayi
kahin chatki kali koyi
main yeh samjha, tu sharmaayi
koyi khushboo kahin bikhri
laga yeh zulf lehraayi

Likhe jo khat tujhe...

Fiza rangeen, adaa rangeen
yeh ithlaana, yeh sharmaana
yeh angdhaayi, Yeh tanhaayi
yeh tarsa kar, chale jaana
bana de ga nahi kisko
jawaan jadoo yeh deewana

Likhe jo khat tujhe..

Jahan tu hai, wahan main hoon
mere dil ki tu dhadhkan hai
musafir main tu manzil hai
main pyaasa hoon tu saawan hai
meri duniya yeh nazre hain
meri jannat yeh daaman hai

Likhe jo khat tujhe...

====================

Likhe jo khat tujhe
woh teri yaad mein
hazaaron rang ke
nazaare ban gaye

Sawera jab huya
to phool ban gaye
jo raat aayi to
sitaare ban gaye

Koyi nagma kahin goonja
kahan dil mein
yeh tu aayi
kahin chatki kali koyi
main yeh samjha, tu sharmaayi
koyi khushboo kahin bikhri
laga yeh zulf lehraayi

Likhe jo khat tujhe...

Fiza rangeen, adaa rangeen
yeh ithlaana, yeh sharmaana
yeh angdhaayi, Yeh tanhaayi
yeh tarsa kar, chale jaana
bana de ga nahi kisko
jawaan jadoo yeh deewana

Likhe jo khat tujhe..

Jahan tu hai, wahan main hoon
mere dil ki tu dhadhkan hai
musafir main tu manzil hai
main pyaasa hoon tu saawan hai
meri duniya yeh nazre hain
meri jannat yeh daaman hai

Likhe jo khat tujhe...

Director: Mohan Sehgal

Cast: Shashi Kapoor, Asha Parekh, Sayeeda Khan, Om Parkesh, Dilip Raj, Asha Sachdev, Laxmi, Birbal, Bela Bose, Chandra Shekhar, Meena T, Tun Tun

Lyricist: Shakeel Badayuni

Producer: Mohan Sehgal

Synopsis: Two small children, Rekha (Asha Parekh) and Amar(Shashi Kapoor), undergo a marriage ceremony under guidance of their respective parents. Years later, Rekha and Amar have grown up, and are now capable of fulfilling their marriage vows and living together. Both are attracted to each other. It is only after a few days of their living together that Amar confides to Rekha, that his real name is Kumar, and that the man she married in her childhood is his best friend, Amar, who is already married with Lata(Sayeeda Khan), and have a child of their own. Devastated, Rekha must now come to terms with her new life-partner, or seek drastic alternative remedies to escape the stigma that has been thrust upon her.

Genre: Romance / Drama / Family

LIKHE JO KHAT TUJHE ( Kanyadaan )

Likhe jo khat tujhe, wo teri yaad mein
I wrote you a letter, in your memory

Wo teri yaad mein, hajaaro rang ke nazare ban gaye
In your memory, it became a sight of thousand colors

Savera jab hua, to phool ban gaye
When it became morning, it became flowers

Jo raat aayi to sitaren ban gaye
When night came, it became stars

Koi nagma kahi goonja, kaha dil mein yeh tu aayee
A story echoed somewhere, my heart said that you came

Kahi chatakee kaali koi, main ye samajhaa tu sharmaayi
When limbs snapped somewhere, I thought you became shy

Koi khushboo kahi bikhari, lagaa ye zulf laheraayi
When fragrance spread somewhere, it felt like your hair spread

Fizaa rangeen ada rangeen ye ithhlaanaa, yeh sharmana
The atmosphere is colorful, the style is colorful, this strut, this shyness

Yeh angdayi, ye tanhayi, ye tarasakar chale jaanaa
This tossing and turning, this loneliness, this going away by making me thirsty

Banaa degaa naheen kis ko, jawaan jaadoo ye diwana
Won’t it make a crazy man out of any adult?

Jahaa tu hain, waha main hoon, mere dil ki too dhadkan hain
Wherever you are, I am there. You are the heartbeat of my heart.

Musafir main tu manzil hain, main pyaasa hoon, tu saawan hain
I am the traveler, you are the destination. I am the thirsty, you are the rain

Mere duniya yeh nazaren hain, mere jannat ye daaman hain
My world are these eyes, my heaven is this hem of your garment.

o saathi re, (film: omkara)

O Sathi Re


o saathi re din dube na - 2

O my love, hope the sun never sets

aa chal din ko roke

come on, hope this day does not end

dhup ke peeche daude

lets run after the sunlight

chaanv chhue na

the shadows do not not touch us

o saathi re

O beloved

o saathi re din dube na
aa chal din ko roke
dhup ke peeche daude
chaanv chhue na
o saathi re
o saathi re din dube na
thaka thaka suraj jab nadi se hokar niklega

when the tired sun (early evening) passes over the river

hari hari kaayi pe paanv bada toh fislega

the sun (time) may slip if it steps on rocks slippery by algae

tum rok ke rakhna main jaal giraaun

you hold the sun and I will try to trap it

tum pith pe lena main haath lagaaun

you hold on to it and I will help you

din dube na ha

hope the sun does not set

teri meri atti katti

I am not speaking to you

daat se khaati katti

really not speaking to you for sure

re jaiyo na

pls do not go

o piyu re

o beloved

o piyu re na jaiyyo na

o beloved, don't go


kabhi kabhi yun kare main daantu aur tum darna

sometime let me scold you and you pretend to be scared

ugal pade aankhon se feenke paani ka jharna

and you cry pretend tears

hmm tere kehre badan mein sil jaaungi re

we become so close that I become part of you

jab karwat lega tu chhil jaaungi re

so close that when you turnover, I would feel the sensation of friction

sang le jaaunga

I will take you with me

teri meri angni mangni

i am yours

and sang laagi sangni

you are my life partner

sang le jaaun

i will take you with me

o piyu re

o beloved

o saathi re din dube na
aa chal din ko roke
dhup ke peeche daude
chaanv chhue na
o saathi re

chithi aaii hai, pankaj udhas, (film: naam, 1986)

Chithi Aaii Hai Aaii Hai Chithi Aaii Hai
Chithi Hai Vatan Se Chithi Aayii Hai
Bade Dinon Ke Baad, Ham Bevatanon Ko Yaad
Vatan Kii Mittii Aaii Hai, Chithi Aaii Hai

Uupar Meraa Naam Likhaa Hain, Andar Ye Paigaam Likhaa Hain
O Parades Ko Jaane Vaale, Laut Ke Phir Naa Aane Vaale
Saat Samundar Paar Gayaa Tuu, Hamako Zindaa Maar Gayaa Tuu
Khuun Ke Rishte Tod Gayaa Tuu, Aankh Men Aansuu Chhod Gayaa Tuu
Kam Khaate Hain Kam Sote Hain, Bahut Zyaadaa Ham Rote Hain, Chithi

Suunii Ho Gain Shahar Kii Galiyaan, Kaante Ban Gain Baag Kii Kaliyaan
Kahate Hain Saavan Ke Jhuule, Bhuul Gayaa Tuu Ham Nahiin Bhuule
Tere Bin Jab Aaii Diivaalii, Diip Nahiin Dil Jale Hain Khaali
Tere Bin Jab Aaii Holii, Pichakaarii Se Chhuutii Golii
Piipal Suunaa Panaghat Suunaa Ghar Shamashaan Kaa Banaa Namuunaa
Fasal Katii Aaii Baisaakhii, Teraa Aanaa Rah Gayaa Baakii, Chithi

Pahale Jab Tuu Kat Likhataa Thaa Kaagaz Men Cheharaa Dikhataa Thaa
Band Huaa Ye Mel Bhii Ab To, Khatam Huaa Ye Khel Bhii Ab To
Dolii Men Jab Baithii Bahanaa, Rastaa Dekh Rahe The Nainaa Main To Baap Huun Meraa Kyaa Hai, Terii Maan Kaa Haal Buraa Hai
Terii Biivii Karatii Hai Sevaa, Suurat Se Lagatii Hain Bevaa
Tuune Paisaa Bahut Kamaayaa, Is Paise Ne Desh Chhudaayaa
Panchhii Pinjaraa Tod Ke Aajaa, Desh Paraayaa Chhod Ke Aajaa
Aajaa Umar Bahut Hai Chhotii, Apane Ghar Men Bhii Hain Rotii, Chithi

kabhi alvida na kehna, (rm + srk)...never say goodbye!

http://www.youtube.com/watch?v=lCWJ1SnqDMY

Tumko bhi hai khabar - You also know
Mujhko bhi hai pata - I also know
Ho raha hai judaa dono ka raasta - Our ways are getting separated
Door jaa ke bhi mujhse - Even going away from me
Tum meri yaadon mein rehna - You stay in my memories
Kabhi alvida na kehna (3) - Never say goodbye

Tumko bhi hai khabar - You also know
Mujhko bhi hai pata - I also know
Ho raha hai judaa dono ka raasta - Our ways are getting separated
Door jaa ke bhi mujhse - Even going away from me
Tum meri yaadon mein rehna - You stay in my memories
Kabhi Alvida Na Kehna (3) - Never say goodbye

Jitni thi khushiyan sab kho chuki hai - Whatever happiness there was its all gone
Bas ek gham hai ke jaata nahi - Just the sadness wont go away
Samjha ke dekha behela ke dekha - I tried to make it understand
Dil hai chain isko aata nahi...aata nahi - This heart does not receive any peace
Aasoon hai ke hai angaarey, aag hai ab aankhon se behena - Are these tears or bolts of flame, fire now floats through these eyes
Kabhi alvida na kehna (3) - Never say goodbye

Rut aa rahi hai, rut jaa rahi hai - Seasons have come, seasons have gone
Dard ka mausam badla nahi - The weather of pain has not changed
Rang yeh gham ka itna hai gehera - The color of sadness is so deep
Saadiyon bhi hoga halka nahi...halka nahi - Even after years it will not get lesswill not get less
Kaun jaane kya hona hai - Who knows what will happen
Humko hai ab kya kya sehena - What more do I have to go through
Kabhi Alvida...Kabhi Alvida Na Kehna (2) - Never say goodbye

Tumko bhi hai khabar - You also know
Mujhko bhi hai pata - I also know
Ho raha hai judaa dono ka raasta - Our ways are getting separated
Door jaa ke bhi mujhse - Even going away from me
Tum meri yaadon mein rehna - You stay in my memories
Kabhi Alvida Na Kehna (5) - Never say goodbye

desperado, the eagles

This is one of the greatest songs ever!

...Some of the best lyrics, vocals, music!!!

Possibly, no comparision?

...Pure heaven!

Is the song asking us to turn to God?!

"These things that are pleasing you, can hurt you somehow!"

...Possibly one of the best lines ever!

Could "Desperado" be a template for a fulfilling Life?!

ek onkar, (film: rang de basanti, 2006), harshdeep kaur...a beautiful prayer!!! + english translation, (miss pooja)

Movie : Rang De Basanti
Song : Ik Onkara Sat Naam

ik onkaar sat naam kartaa purakh nirbh-a-o nirvair akaal moorat ajoonee saibhn gur parsaad

There is but one God. True is His Name, creative His personality and immortal His form. He is without fears and enmity, unborn and self-illumined. By the Guru's grace He is obtained.

jap.

Embrace His meditation.

aad sach jugaad sach.

True in the prime, True in the beginning of ages,

hai bhee sach naanak hosee bhee sach.

True He is even now and True He verily, shall be, O Nanak!

sochai soch naa hov-a-ee jay sochee lakh vaar.

By pondering on God, man cannot have a conception of Him, even though he may ponder over lacs of times.

chupai chup naa hov-a-ee jay laa-i rahaa liv taar.

Even though one be silent and remains absorbed in Lord's constant love he obtains not mind's silence.

bhukhi-aa bhukh naa utree jay bannaa puree-aa bhaar.

The hunger of the hungry departs not, even though they may pile up loads of the world's valuables.

sehas si-aanpaa lakh hoh taa ik naa chalai naal.

Man may possess thousands and lacs of wits, but not even one (goes with him) avails him in the Lord's court.

kiv sachi-aaraa ho-ee-ai kiv koorhai tutai paal.

How can we be true and how can the screen of untruth be rent?

hukam rajaa-ee chalnaa naanak likhi-aa naal.

O Nanak! By obeying, the pre-ordained order of the Lord's will.

ki-ki tainu dukh dasiye?!...(harbhajan shera)...this is such a sad, sad, tearful punjabi song!

Song - Ki-Ki Tainu Dukh Dasiye
Album - Sun Ve Rabba
Artist - Harbhajan Shera

-------------

Sade dil ton na push ki judaiya wale dukh
Dil ton na push ki judaiya wale dukh
Asi gum ne putta de vangu paale
Ni ki-ki tainu dukh dasiye
Asi khotiya kismata wale, ki-ki tainu dukh dasiye
Asi gum ne putta de vangu paale, ki-ki tainu dukh dasiye

Teri yaad ch gawacha, Dil rajj-rajj roya
Tu v kiti dhokhebazi, Ni sada rabb v na hoya
Teri yaad ch gawacha, Dil rajj-rajj roya
Tu v kiti dhokhebazi, sada rabb v na hoya
Sade rabb v likhe ne lekh kaale
Ni ki-ki tainu dukh dasiye
Asi khotiya kismata wale, ki-ki tainu dukh dasiye
Asi gum ne putta de vangu paale, ki-ki tainu dukh dasiye

Haddi vecheya ne peera, Laye haukeya ne dere
Din lagde nai change, Ni sade yaar ne hanere
Haddi vecheya ne peera, Laye haukeya ne dere
Din lagde nai change, Sade yaar ne hanere
Asi rog ne awallre la laye
Ni ki-ki tainu dukh dasiye
Asi khotiya kismata wale, ki-ki tainu dukh dasiye
Asi gum ne putta de vangu paale, ki-ki tainu dukh dasiye

Oda jeena v ki jeena, Jihda dil tutt jave
Ni Loharke da "Nimma", O dukh kinne k sunave
Oda jeena kahda jeena, Jihda dil tutt jave
Ni Loharke da "Nimma", Dukh kinne k sunave
Deeve bujh ge mohabbataan de wale
Ni ki-ki tainu dukh dasiye
Asi khotiya kismata wale, ki-ki tainu dukh dasiye
Asi gum ne putta de vangu paale, ki-ki tainu dukh dasiye

saahan vargiye, master saleem...(probably?)...one of the saddest punjabi love songs...ever?!

phullan vich khushbo de vangu,

taareyan de vich loh de vangu,

phullan vich khushbo de vangu,

taareyan de vich loh de vangu,

dil mere vich har vele abaad rahe gi tu,

saahan vargiye akhri saah tak yaad rahe gi tu (x2)


mudatan to bhi baad rehan ge chete bol tere,

dharkan ban dharke gi,

mudatan to bhi baad rehan ge chete bol tere,

dharkan ban dharke gi,

beshak na tu kol mere,

buliyan te ik mitti jahi fariyaad rahe gi tu,

saahan vargiye akhri saah tak yaad rahe gi tu (x2)


phat jigar de khore tarpaun kado,

mithiyan yaadan pata nahi malam ban jan kado,

phat jigar de khore tarpaun kado,

mithiyan yaadan pata nahi malam ban jan kado,

jind meri layi ik vakhra sawad rahe gi tu,

saahan vargiye akhri saah tak yaad rahe gi tu (x2)


dil de ne eh rishte naate pakk bhi javan ge,

kidda loki roohan de vich vandiyan pavan ge,

dil de ne eh rishte naate pakk bhi javan ge,

kidda loki roohan de vich vandiyan pavan ge,

khereyan de vass peke bhi azaad rahe gi tu,

saahan vargiye akhri saah tak yaad rahe gi tu (x2)


mudatan to bhi baad rehan ge chete bol tere,

dharkan ban dharke gi,

mudatan to bhi baad rehan ge chete bol tere,

dharkan ban dharke gi,

beshak na tu kol mere,

buliyan te ik mitti jahi fariyaad rahe gi tu,

saahan vargiye akhri saah tak yaad rahe gi tu (x2)


dil de ne eh rishte naate pakk bhi javan ge,

kidda loki roohan de vich vandiyan pavan ge,

dil de ne eh rishte naate pakk bhi javan ge,

kidda loki roohan de vich vandiyan pavan ge,

khereyan de vass peke bhi azaad rahe gi tu,

saahan vargiye akhri saah tak yaad rahe gi tu (x 4)

aye Malik tere bandhe hum + itni shakti hume dena Daata

ishq hua, shreya ghoshal & sonu nigam, (film: aaja nachle)

tu guru, pita, tu mata, tu sabhi guno ka daata...jai sai baba!...sab ka Malik ikk hai.

Sai Vachan

If a man utters My name with love, I shall fulfill all his wishes, increase his devotion.

And, if he sings earnestly My life and My deeds, him I shall beset in front and back and on all sides.

Those devotees, who are attached to Me, heart and soul, will naturally feel happiness, when they hear these stories.

Believe Me, that if anybody sings My Leelas, I will give him infinite joy and everlasting contentment!

(Shirdi Sai Baba)





Tu Guru pita tu mata,

Tu sabhi guno ka daata,

Tu Guru pita tu mata,

Tu sabhi guno ka daata.

Yeh hai prathna hamari,

Ye hai prathna hamari,

So jao nind pyari!


====================


Tu Guru pita tu mata,

Tu sabhi-i-i guno ka daata!


====================


Tere nain thak-chuke hain,

Bhakto ke darshano se.

Sab so-gaye hai ja-kar,

Tere sami paa kar.


====================


Tere nain thak-chuke hain,

Bhakto ke darshano se.

Sab so-gaye hai ja-kar,

Tere sami paa kar.


====================


Yeh hai prathna hamari,

Ye hai prathna hamari,

So jao nind pyari!


====================


Tu Guru pita tu mata,

Tu sabhi-i-i guno ka daata!


====================


La, lala, la, lala, la, lala, la, laaa (Chorus) (x 2)


====================


Teri bhakti ras me dube,

Sab jiva so gaye hai.

Tere hi swapna lekar,

Nindo main kho gaye hai.

====================


Teri bhakti ras me dube,

Sab jiva so gaye hai.

Tere hi swapna lekar,

Nindo main kho gaye hai.


====================


Yeh hai pra-athna hamari,

Ye hai pra-a-athna hamari,

So jao nind pyari!


====================


Tu Guru pita tu mata,

Tu sabhi guno ka daata.

Tu Guru pita tu mata,

Tu sabhi guno ka daata.


====================


Yeh hai pra-athna hamari,

Ye hai pra-a-athna hamari,

So jao nind pyari!!!


====================


Tu Guru pita tu mata,

Tu sabhi-i-i guno ka daata!


====================


Sai Ra-a-am!...Sai Ra-a-am!...Sai Ra-am!...Sai Ram!...Sa-ai Ram!...Sai Ram!...Sa-a-ai Ram!...Sai Ram!...Sai Ram!...Sai Ram!


====================

The 'plight' of those 'just-existing' within rural India?...Is it a situation of "no hope"??...Or, can a 'new-model' of Government, coupled with the 'power' of "God" assist the masses to 'escape' from the injustices & poverty within "Bharat"???

21.05.11


(TV remote-control in hand)...I 'accidentally' ended-up watching "NDTV-24/7" today...to my utter dismay!!!


There was a report showing of 17 'poor' women, who had apparently died in labor, whilst giving birth in a Government-run hospital in Jodhpur, Rajasthan, India.


The (inexperienced) junior-doctors on duty at the time apparently couldn't control the internal bleeding, after carrying-out "C" sections, on some of the unfortunate mothers-to-be, it was stated by the news channel.


Yet, the hospital authorities were blaming outside suppliers for the deaths, by suggesting that the suppliers had contaminated the glucose-fluids that had been administered to the poor women?!


The real truth of these awful tragedies 'appears' to me to have been that the Jodhpur hospital was in fact filthy & unhygienic, with abundant evidence of high-levels of potentially dangerous bacterial contamination within the labor-room etc!


In addition, (to say the least), I ultimately blame the incompetant & corrupt (so-called) politicians of my beloved Mother-country for this outragious situation/occurrence!


Yet, I regularly see & hear Indian politicians on "NDTV-24/7" beating their chests these days & boasting about how India aspires to become a "1st-World" super-power country!


...Whilst, the "Central Government Of India" appears to sit-on-its-hands, upon its very-comfortable seats of power, apparently incapable of looking after ALL of its people, or even wishing to be seen to be providing the very-basic of human 'needs' for a dignified-Life & existence to the masses, (especially in rural India).


In this particular (very-tragic) case, they seem to have totally-failed, by displaying an utter inability to even provide the 'basics' of health-care for the Rajasthani women, men & children...(that is, those fortunate enough to have survived childbirth!)...who cannot afford the 'luxury' of being economically-capable of accessing private medical-care, unlike their more-economically-fortunate & educationally & upwardly-mobile middle-class counterparts & the obscenely-filthy-rich of India!


*To firstly see excited husbands going to the Jodhpur hospital in the great-expectation & inward-happiness & anticipation of seeing a 'new' Life of theirs coming into this wonderful World of ours...then to witness & picture the horror in their eyes, (filled to the brim with rivers of tears), overflowing & then cascading down onto their cheeks...on being told that there's no 'new' child for them to see & hold! But, (instead), a dead wife for them to identify!!!


*HOW CAN THIS BE ALLOWED TO HAPPEN IN THE YEAR 2011 OF THE 21ST CENTURY, (WITHIN THE BIGGEST DEMOCRACY ON THIS PLANET), I ASK YOU???...WHILST I SIT HERE & 'SPIT-OUT' MY TOTAL ANGER & PERSONAL FRUSTRATION in TYPE AT NOT BEING ABLE TO DO ANYTHING CONSTRUCTIVE TO RECTIFY THIS CRIMINALITY TO MY FELLOW INDIAN HUMAN-BEINGS!!!


====================================================


Then, guess what happened next?!...


The Indian news channel, ("NDTV-24/7"), showed their own disrespectful-colours to the 'souls' of the 17 poor (innocent) dead women, as well as displaying their utter contempt & total-inhumanity, by then jumping immediately & very-excitedly to what seemed to be a much-more-important & news-worthy subject!...


...The latest "NPL" cricket scores in India!!!


*I FEEL, THAT THAT'S ENOUGH SAID ABOUT THE (SO-CALLED) WISDOM & THE TOTALLY INSENSITIVE-NATURE OF THE PLANNING/AIRING OF THE RELEVANT NEWS-REPORTS BY "NDTV-24/7", AT THAT TIME, ON 21 MAY '11.


====================================================


In conclusion, I now honestly "believe" it could be true?!...What many others have said to me, on many occasions in the past, to which I've normally just shrugged my shoulders& in polite acknowledgement of their view!...


..."GOD" MUST SURELY BE PERSONALLY 'CONTROLLING' WHAT GOES ON 24/7...IN EVERY CITY, TOWN, VILLAGE & REMOTE HAMLET WITHIN THE LENGTH & BREADTH OF MY BELOVED "BHARAT" (INDIA)???!!!


Therefore, (I now believe), that either by replicating the current Chinese mixed-model of Maoist-communism & Western capitalist ideals & real-democratic values, ("Indian Government, 1948/Version2")???


Or, (alternatively), via the actions of "The Almighty" Himself, who may possibly & ultimately decide the actual outcome on the "Day Of Judgement"???


...Will the plight of those at the bottom of the pile in rural India be addressed!!!


Hence, possibly the millions of rural Indians living within Bharat, who rely upon their daily-ration of 'blind-faith', (to keep themselves going)...could be right?...for all I know!


*Maybe, just maybe...(it could be true?!)...that "God" is the ONLY one who can really help them to escape from their miserable daily existences & the criminal injustices that are so-heavily stacked against them, by the (so-called) democratically-elected...CENTRAL GOVERNMENT OF INDIA!

tere liye, (film: veer zaara), keyboards tutorial

jag soona soona lage, RFAK, (film: om shanti om, 2007)

Main toh jiya na mara
Hai ve das main ki kara

Dil jude bina hi tut gaye hath mile bina hi chhut gaye
Ki likhe ne lekh kismet ne
Baar baar rod akhiyan tainu jo na vekh sakiyan
Khole aaye aaj kudrat ne
Kataan main ki ve din teri soth tere bin
Main toh jiya na mara

Chan se jo tute koi sapna
Jag suna suna lage
Jag suna suna lage

Koi rahe na jab apna
Jag suna suna lage
Jag suna suna lage
Jag suna suna

Hai to yeh kyun hota hai
Jab yeh dil rota hai
Roye sisak sisak ki hawayein
Jag suna lage

Chan Se jo tute koi sapna
Jag suna suna lage
Jag suna suna lage

Koi rahe na jab apna
Jag suna suna lage
Jag suna suna lage reeeeeeeeee

Suna Lage reeeeeeeeee

Roothi rothi sari raatein
Fikhe fikhe sare din
Virani si Virani hai
Tanhai si tanhai hai
Aur ek hum hai pyaar ke bin
Har palchin

Chan se jo tute koi sapna
Jag suna suna lage
Jag suna suna lage

Koi rahe na jab apna
Jag suna suna lage
Jag suna suna lage

Patharo ki is nagari mein
Pathar chehre Pathar dil
Phirta hai mara mara
Kyun rahon mein tu awara
Yahan na hoga kuch hasil mere dil


Chan Se jo tute koi sapna
Jag suna suna lage
Jag suna suna lage reeeeeeeeee

Koi rahe na jab apna
Jag suna suna lage
Jag suna suna lage


Hai to yeh kyun hota hai
Jab yeh dil rota hai
Roye sisak sisak ki hawayein
Jag suna lage

Chan se jo tute koi sapna
Jag suna suna lage
Jag suna suna lage

Koi rahe na jab apna
Jag suna suna lage
Jag suna suna lage reeeeeeeeee

main agar kahoon, sonu + shreya, (film: om shanti om, 2007)

Song: Main Agar Kahoon
Singers: Sonu Nigam, Shreya Ghoshal
Movie: Om Shanti Om (2007)
Starring: Shahrukh Khan, Deepika Padukone
_______________________________________
LYRICS
_______________________________________
Tumko paaya hai to jaise khoya hun
kehana chahu bhi tho tumse kya kahun
Tumko paaya hai to jaise khoya hun
kehana chahu bhi tho tumse kya kahun
Kisi zaaba mein bhi, woh laafaz hi nahi
Ki zin mein tum ho kya tumhe baata sakoon
Mein agar kahoon tumsa haseen
Kaayanaath mein nahi hai kahin
Taaref yeh bhi tho, saach hai kuch bhi nahin
Tumko paaya hai to jaise khoya hun

Shokion mein doobi yeh aadayein, chehare se zalki hui hai
Zulf ki ghani ghani ghataein, shaan se dhalki hui hain
Lehrata aanchal hai jaise baadal, bahoon mein bhari hai jaise chandini
Roop ki chandini
Mein agar kahoon yeh dil kashi
Hai nahin kahin, na hogi kahin
Taaref yeh bhi tho, saach hai kuch bhi nahin
Tumko paaya hai to jaise khoya hun

Tum huwe mehrabaan toh hai yeh daastan
ohhoh tum huwe mehrabaan toh hai yeh daastan
Ab tumhara mera ek hai karwaa, tum jahan mein wahan
Mein agar kahoon humsafar meri
Apsara ho tum, ya koi pari
Taaref yeh bhi tho, saach hai kuch bhi nahin
Tumko paaya hai to jaise khoya hun
kehana chahu bhi tho tumse kya kahun
Kisi zaaban mein bhi, woh laafaz hi nahi
Ki zin mein tum ho kya tumhe baata sakoon
Mein agar kahoon tumsa haseen
Kaayanaath mein nahi hai kahin
Taaref yeh bhi tho, saach hai kuch bhi nahin

is bhari duniya mein, rafi-ji, (film: bharosa, 1963)

Is bhari duniya mein, koi-bhe hamara na hua (x 2)

Ghare thowe ghare thay apno ka sahara na hua

Is bhari duniya mein......


Lok rowe-rowe kay-bhe iss duniya mein jee-lay-thay-hai (x 2)
Ek hum hai-kay hasay-bhe thowe guzaara na hua (x 2)

Is bhari duniya mein.....


Ek mohabbat-kay-siva aur na kuch manga-tha (x 2)
Kya-karay yay-bhe zamannay ko gavarra na hua (x 2)

Is bhari duniya mein......


Aasaman kitnay sitaray hai teri mehfil mein (x 2)
Apnee takadeer tha-he koi sitara na hua (x 2)


Is bhari duniya mein, koi-bhe hamara na hua

Ghare thowe ghare thay apno ka sahara na hua

Is bhari duniya mein......

sun zara, sonu nigam, (film: lucky)

Song: Sun Zara
Singer: Sonu Nigam
Movie: Lucky (2005)
Starring: Salman Khan, Sneha Ullal, Mithun Chakraborty
_________________________________
LYRICS
__________________
Sun Zara Soniye Sun Zara 4
Aaj Khamoshiyon Se Aa Rahi Hai Sada
Dhadkanein Hai Deewani
Dil Bhi Kutch Keh Raha Hai 2
Sun Zara Soniye Sun Sun Sun Zaraaaa

Beetey Lamhon Ke Saaye Toh Bas Yahi Tham Gaye Hai
Yaad Mujhe Aaye Teri Baatein
Palkon Ki Surkh Chadar Pe Ask Bhi Jam Gaye Hai
Teri Ankhon Se Na Hatti Aankhein
Bebasi Ka Hai Aalam Kya Karoo Main Bata
Dhadkanein Hai Deewani Dil Bhi Kutch Keh Raha Hai
Sun Zara Soniye Sun Zaraaaa 2
Aaj Khamoshiyon Se Aa Rahi Hai Sada
Dhadkanein Hai Deewani
Dil Bhi Kutch Keh Raha Hai
Sun Zara Soniye Sun Zaraaaa 2

Choom Ke Apne Hoton Se Tere Gam Ko Chura Loo
Laake Tujhe De Doo Khushiyan Sari
Apni Har Beqarari Ko Seene Main Hi Chupa Lu
Meri Chahtein Jaye Tujhpe Wari
Sehme Sehme Labon Mein Ghul Gayi Hai Dua
Dhadkanein Hai Deewani Dil Bhi Kutch Keh Raha Hai
Sun Zara Soniye Sun Zaraaaa 2
Aaj Khamoshiyon Se Aa Rahi Hai Sada
Dhadkanein Hai Deewani
Dil Bhi Kutch Keh Raha Hai
Sun Zara Soniye Sun Zaraaaa 4

thode badmash!...the lovely shreya ghoshal, with THAT mind-blowing voice of the proverbial "ANGEL", (film: saawariya)...at her EXCEPTIONAL best!!!riya)...

thode -
means little

tum -
means you

badmash -
if said in affection it means 'naughty' else it is goonda, hooligan, loafer, evil person etc.

naadan -
means silly but it is a very mild form of saying not harsh one

jhankaar -
chime, strum (melodious)

emaan -
faith,

maan -
pride

shaan -
splendour

beiimaan -
unfaithful, dishonest, deceitful

shaytaan -
satan, devil, but in affection it means naughty





Thode badmash ho tum

Thode nadan ho tum

Thode badmash ho tum

Thode nadan ho tum

Haan magar yeh sach hai

Hamari jaana ho tum (start again from start & repeat)

Meri saanson ki jhankaar ho tum

Mera solah singaar ho tum

Meri aankhon ka intezaar ho tum

Meri emaan, meri shaan, mera maan ho tum

Thoda beimaaan ho tum

Thode shaytaan ho tum

Thoda beimaaan ho tum

Thode shaytaan ho tum

Haan magar yeh sach hai

Mere Bhagwaan ho tum!!!

Thode...ummmm um u mm m

Ummmm...nadan ho tum.

Umm umm um u m ummm

umm haan haaan haaan

hmhmm...badmash!!!


Thode badmash ho tum
You are a little mischievous

Thode nadan ho tum
You are a little naïve

Thode badmash ho tum

Thode nadan ho tum

Haan magar yeh sach hai
Yes, but it is still true

Humari jaan ho tum
That you are my everything

Thode badmash ho tum

Thode nadan ho tum

Haan magar yeh sach hai

Humari jaan ho tum

Meri saanson ki jhankaar ho tum
You are the sound/chime in my breaths

Mera sola singhaar ho tum
You are my sixteen types of beauty

Meri aankhon ka intezaar ho tum
You are the wait of my eyes

Meri emaan, meri shaan, mera maan ho tum
My belief, my strength, my trust are you

Thode beiimaan ho tum
You are a little untrustworthy

Thode shaytaan ho tum
You're a little bit of a devil

Thode beiimaan ho tum

Thode shaytaan ho tum

Haan magar yeh sach hai
Yes, but it is still true

Mere Bhagwaan ho tum
You are my God!!!

Thode...ummmm um u mm m

Ummmm nadan ho tum.

Umm umm um u m ummm

umm haan haaan haaan

hmhmm...badmash!!!

surili akhiyon wale, RFAK

Surili Akhiyon Wale...............................Film: Veer
Scale: C# minor


Music:
G# G#BF# F#BE ED#F# -- 6 times


Surili aanhkiyon wale
G#G#B BB BF#F# G#F#E

Suna hai teri aankhiyon se
G#G#B BB BF#~F# G#

Beh ti hai neendein aur neendon mein sapne
G#~B B Bc#c#B Bc# c#d#d# d# d#c# d#c#B

Kabhi to kinare pe
G# G#BB BBF#F# G#F#E

U tar mere sapno se
G# G#B BB c#BG#F# G#F#E

Aaja zameen pe aur mil ja kahin pe
G#B BBc# c#B Bc# c#d#d# d#d#c# d#c#B

Mil ja kahin
bd# f#e~~

O oo O
ef#f#g# f#eg#f# ed#

Mil ja kahin Samay se pare
e d# f#e eed# f#e Bc#B

Samay se pare
ee e f#f#g#f#e

Mil ja kahin
ed#f#e Bc#B
Tu bhi aankhiyon se kabhi meri aankhiyon ki sun
Bc# ddc# B c#c# BA BB AG# F#



Music: G# G#BF# F#BE ED#F#


Surili aanhkiyon wale
G#G#B BB BF#F# G#F#E
Suna hai teri aankhiyon se

G#G#B BB BF#~F# G#


Jane tu kahan hai
G#AB AB G#F#E
Udti hawa pe tere
EE Eec#c# ec# c#BA

Pairo ke nishan dekhe
d#c# c#d#d# f#d#c#BA c#B


Jane tu kahan hai
G#AB ABBBB G#F#E

Udti hawa pe tere
EE Eec#c# ec# c#BA

Pairo ki nishan dekhe
d#c# c#d#d# c#d#c#BA c#B~


Dhondha hai zameen pe


G#AB~ ABBBB G#F#E


Jana hai falak pe
EE E Ee c#

Sare aasmaan dekhe
d#c# c#d# d#f# d#c#BA c#B

Mil ja kahin

ed# f#e~
Samay se pare
ee c# f#e c#B

Samay se pare
ee e f#f#g#f# ef#ed#
Mil ja kahin
ed# f#e Bc#B

Tu bhi aankhiyon se kabhi meri aankhiyon ki sun
Bc# ddc# B c#c# BA BB AG# F#



Everytime I look into your eyes
F#G#G#G#G#G#G#B F#

I see my paradise
F#B E ED#F#

Stars are shining right up in the sky
F#G#G#G#G#G#G# B F#
Painting words of desire
F#B E ED#F#

Can this be real (can this be real)
E c#B G#

Are you the one for me (are you the one for me)
E E c#Bc# G#

You captured my heart
E c#BB c#d#G#

my soul on Earth
ed#G#F#

You are the one waiting for
EEC#EEF#G# G#F#







Everytime I look into your eyes
F#G#G#G#G#G#G#B F#

I see my paradise
F#B E ED#F#

Stars are shining right up in the sky
F#G#G#G#G#G#G# B F#
Painting words of desire
F#B E ED#F#
Ooth mein chupke
G#G# A BB

Dekh rahe the
G#G# A c#c#

Chand ke peeche peeche the
A~AA F#A~ F#ED AA G#
Ooth mein chupke
G#G# A BB

Dekh ra he the
G#G# A c#Bc#

Chand ke peeche peeche the
A~AA F#A~ F#ED AA G#
Sara jahan dekha
G#G#AB c#BG#F#E

Dekha na aankhon mein
E EE ec# c#B Bc#

Palkon ke neeche the
ed# d#c# d#c#BA ABc# B

aa chal kahin
ed# f#e

Samay se pare
eed# f# Bc#B

Samay se pare
ee e f#~f#g#f#e

chal de kahin
ed# f# Bc#B

Tu bhi aankhiyon se kabhi meri aankhiyon ki sun


Bc# ddc# B c#c# BA BB AG# F#




Music: G# G#BF# F#BE ED#F#
Surili aanhkiyon wale
G#G#B BB BF#F# G#F#E
Suna de zara aankhiyon se
G#G#B BB BF#~F# G#
Surili aanhkiyon wale
G#G#B BB BF#F# G#F#E

Suna de zara aankhiyon se
G#G#B BB BF#~F# G#

o re piya, aaja nachle...madhuri!!!!!!...RFAK!!!!!

O Re Piya Haye 3

Udne Laga Kyon
Man Baawla Re

Aaya Kahan Se
Yeh Hosla Re


O Re Piya Haye 2

Tanabana Tanabana
Bunti Hawaa
Haaye
Bunti Hawa


Boondein Bhi To Aaye Nahi
Baaz Yahan

Sazish Mein Shaamil
Sara Jahan Hai

Har Zarre Zarre Ki
Yeh Iltiza Hai

O Re Piya

O Re Piya Haye 2

O Re Piya

Ni Re ,Re Re Ga
Ga Ga Ma
Ma Ma Pa
Pa Ma Ga Re Sa
Sa Re Re Sa
Ga Ga Re
Ma Ma Ga
Pa Pa Ma
Dha Dha Pa
Ni Ni Sa Sa Pa
Pa Sa Ma Pa Dha Ni Sa Ni
Re Ni Sa Sa Sa.. . . . ..

Nazrein Bolen
Duniya Bole

Dil Ki Zaban
Haaye
Dil Ki Zubaan


Ishq Maange
Ishq Chahe
Koi Toofan
Chalna Aahiste
Ishq Naya Hai

Pehla Yeh Vada
Humne Kiya Hai

O Re Piya Haaye 2

O Re Piya
Piyaaaaa....

Yehhh Piya

Nange Pairo Pe Angaro

Chalti Rahi
Haaye
Chalti Rahi


Lagta Hai Ke Gairo Mein

Palti Rahi
Haaye


Le Chal Wahan Jo

Mulk Tera Hai

Jahil Zamana

Dushman Mera Hai
Haaye

O Re Piya Haye 5

chords theory, (piano/keyboards)

Major Chords Theory

Major chords are the most common type of chord.
Character of the chord
They create a bright, "happy" sound. They possess a feeling of resolution and finality. (These chords are often used after more unstable chords such as the dominant sevenths or suspended forths)

Notation:
Usually a major chord is notated by a capital letter, with no additional letters. E.g. C major chord on a chord sheet is simply "C". Occasionally people write "Cmaj", although this is not strictly necessary.

C major chord notated


Theory - how to work out any major chord.
The major chord is composed of the root note (tonic) of the scale, the third (mediant),and the fifth note (dominant). So if you play the scale of C, hold the first note of the scale down (C), the third note (E) and the fifth (G), and this will give you C major chord.
C# major chord


This technique is fine if you know all your scales! But most people don't, so here is another way of approaching this:-
Say you need to figure out C# major, a more unusual chord.
The first note, obviously, is the C# key (one up from C)
For the second note, count 4 notes up from C#
(counting all the black and white keys, but do not include the first key). This should land you at the note F. From here, count a further 3 keys (again, do not include the "F" key). You should now be on G#.
This gives you the three notes C# - F - G#.

So in summary, all major chords are formed from the pattern of 4 steps then 3 steps.
MAJOR - 4 - 3


TOP TIP: To remember this pattern, you might like to think of inviting an Army Major for three O'Clock. MAJOR 4 3 !
This works for any major chord. In music theory terms, what you are in fact doing is counting 4 semitones (a semitone is the smallest step you can go on a musical scale), then 3 semitones.
A common misunderstanding
Major chords are all white key chords.
Whilst this holds true for the major chords you are likely to learn as a beginner (C, F and G), it's not going to be long before you run into black keys! (e.g. D major has an F#)


Minor Chords Theory

Minor chords are very common types of chords so it worth knowing about how they are constructed and how to work them out.
Character of the chord
Minor chords create a moody, melancholic feel. Depending on how they are used and the context in which they are played, this emotion can range from mellow sadness to mourning. Minor chords can be made less intense in feeling by adding modifiers such as sevenths and ninths.

Notation:
Usually a minor chord is notated by a capital letter, followed by a small case "m". E.g. a C minor chord on a chord sheet would be "Cm". Occasional people write "Cmin", although this is not strictly necessary. C minor can also be written C-

C minor chord notated


Theory - how to work out any minor chord.
The minor chord is composed of the root note (tonic) of the scale, the 3rd (mediant), and the 5th note (dominant). So if you play the D minor scale, hold the first note of the scale down (D), the third note (F) and the fifth (A), and this will give you the D minor chord.
Eb minor chord


As with working out major chords, this technique is fine if you know all your minor scales! However, most people don't, so here's another way of figuring out minor chords:-
Let's say we want to work out Eb minor - a more unusual minor chord and unless you know your scales really well this is going to be difficult!
The first note, of course, will be Eb.
To find the second key, count up 3 steps from here (do not include the first key, and count every key, including the black ones). This should get you to Gb (F#).
After this, count 4 steps up from Gb (again, be sure not to include the first key). You should now be on Bb. So Eb minor is Eb - Gb - Bb
So all minor chords are formed from the pattern of 3 steps then 4.
MINOR - 3 - 4


TOP TIP:
If you want to try to remember this sequence, it may by using the following:- "The average age of a miner is 34" = MINOR 3 - 4 ! This fact about miners is almost certainly not true, but if it helps in remembering your chords, then do feel free to use it! There's probably a better one out there - do let me know if you think of any!


Sus 2 Chords Theory

The Sus2 is a beautiful chord, and when used in the correct context can significantly improve the feel and progession of a chord sequence.
Character of the chord
The Sus2 chord has an ambigious feel, it is not clearly "happy" or "sad". It does not possess a resolved feel e.g. you would be unlikely to finish a song on a Sus2

Notation
If you were playing a C major chord, a Sus2 would be written either as "Csus2".(A "C2" is slightly different, as this implies that the third is also present in the chord).


Csus2 chord notated


Theory - how to work out any Sus2 chord.
A Sus2 is based on a major chord, so begin by working this out first.
Next, move the middle note (if you are playing a C major this will be the "E" note) down 2 steps to D. You should now be playing C - D - G. That's it! Csus2
Make sure that when you count down you include every key, except the first one.
Csus2 chord


A Sus2 chord is short for "Suspended second". Usually (but not always) suspensions in music resolve - in this case to the third. For example, Csus2 may then be followed by C major. Here the middle note is resolving upwards, from D to E. The "suspense" of the Sus2 is finding a resolution, or sense of completeness, on the E note.

So in summary, to work out the sus2 chord - 1. work out the major chord. 2. count down two semitones from the middle note.

A common misunderstanding:
Often musicians (mistakenly) believe that a Csus2 and a Cadd9 are the same chord. This is not strictly correct. Although Cadd9 also contains a "D" note, Cadd9's are usually played with the third as well. So a Cadd9 will be C - E - G and D, where as Csus2 is just C - D - G (no E).


Sus4 Chords Theory

Sus4's are great for creating "tension" in music.
Character of the chord
A sus4 chord feels unresolved. They create "direction" in the harmony, and are a popular choice amongst modern day songwriters (generally being prefered to the dominant 7th {eg. C7} as 7th's can make a song feel quite "dated").
Notation
These chords are usually notated "sus4", so C major sus 4 would be written "Csus4". Occasionally the "sus" is omitted to leave just "C4".

Csus4 notated


Theory - how to work out a sus 4 chord.
Firstly, you'll need to work out the major chord. If you're not sure how to do this, please refer to notes on the major chord page on this. Next, add one semitone to the middle note of the chord.
Esus4 major chord


Foe example, let's say you were trying to work out Esus4. Begin by finding the notes of E major. These are E - G# - B. The next step is to go to the middle note (G#) and add one step (up). This gets you to A. So Esus4 is E - A - B.

"Sus 4" are short for "suspended forths". A "Sus4" chord will often "resolve" onto it's major chord, with the forth note droping down to the third. For instance, Csus4 to C major (here the "F" note resolves to the "E"). Notice how we feel that the "C major" chord seems to complete and finish the sound. "Sus4" can be used very effectively just before the finish of a song, or a section to a song.


TOP TIP:
"Sus4" chords can be combined with "7th" chords to create further tension in music. Try playing Csus4/7 to C and you'll see what I mean. Csus4/7= C - F - G - Bb, then C= C - E - G.


5 Chords Theory

5 Chords, or "open chords" are fantastic for creating powerful, dramatic moments in music.
Character of the chord
5 chords are often dubbed "power chords", as they sound very bold and strong. They are used in "heavy rock" and "heavy metal" music on distorted electric guitars to create dramatic sounding riffs. ( There's an interesting analysis of why these chords sound powerful here).

Notation:
5 chords are notated with the number after the chord. E.g. D5

D5 notated


Theory - here's how to work out an open chord.
These are major (or minor chords) without the "third". (5 chords are neither major nor minor as there is no third present).
D5 chord


Let's say you want to work out D5. Begin by finding the notes to D major (these are D - F# - A). Once this is done, remove the middle note (F#). That's it! Open chords only have to notes - the tonic (in this case D) and the dominant (A).

So in summary, work out the major chord, then delete the middle note.


TOP TIP:
To get the most out of this chord, I would suggest playing the two notes a number of times across the hands (or the fret board, if you're playing this on the guitar). For example, if say you were playing E5 on the keyboard you might play octave E's in the left hand ( E and E), and E - B - E in the right hand. This is much stronger sounding than just E and B in the right hand!


6 Chords Theory

6 chords are often associated with jazz and swing music. They are also can be used as passing chords in rock and roll music.
Character of the chord
6 chords can be characterised as having a light and jazzy feel.

Notation
These chords are notated with the name of the chord, followed by the number 6. E.g. D6

D6 chord notated


Theory - how to go about working out a 6 chord.
The best place to start here is to begin by working out the major chord. Once this is done, go up two steps (by the smallest step you can go i.e. a semitone) from the top note. This becomes the new top note of the chord.
F6 chord


Here's an example of this in action. Let's try to work out F6. Firstly, work out the major chord, which is F - A - C. Then, go up two steps from the top note (do not include the top note, and include all keys e.g. whites and blacks as you go). This gets you to the note "D". So F6 is F - A - C - D.

So 6 chords are major chords altered by the top note (the "fifth") moving two steps up.
In early music, a sixth chord would be just three notes (e.g. C6 would be C - E - A) and the "dominant" note (G in this case) was omitted. However, in conventional popular music C6 is taken to mean the four note chord C - E - G - A (even though technically speaking this should be written Cadd6).
Sixth chords also have a minor varient, the "m6", for example Dm6 (D - F - A - B). This might also be written Dmin/maj6 or Dmin(maj6), and is a popular chord in jazz music.


TOP TIP:
It's fun to experiment with this chord. Try playing two normal F chords, followed by one F6, followed by another F chord, in a steady beat. E.g. F F F6 F, and repeat this pattern. This gives you a boogie-woogie style piano riff. If you know how to do a walking bass, you could try adding this in the left hand. A suitable bass here would be F, A, C, D, F (moving up the keyboard) then D, C, A, F (going down). Then see if you can play a chord on each bass note. Now that's a bit more tricky!


7 Chords

There are three common types of 7 chords, and each have different characteristics. On this page we're going to be investigating the most common one of all - the dominant seventh chord.
Character of the chord
This has a very unstable and uncomfortable sound. It is commonly used just before the end of a piece of music (or section of music) to signify "the end is about to happen!"

Notation:
Dominant Seventh chords are notated simply by the name of the chord, followed by the number seven. E.g. G7

G7 chord notated


Theory - here's how to work them out.
Dominant seventh chords are constructed from a major chord, followed by the flattened seventh note of the scale of the chord. O.K. so all that sounds a bit complicated - here's an easier way to work them out, if you're not too familiar with scales:-
A7 chord


Begin by working out the major chord. In this instance, we're going to work out A7, so A major is A - C# -E. The seventh note is found by going two semitones down from the root note (that's the name of the chord - in this example, it's an A). Two semitones down from A is G. Next, put this note up one octave, so that it's now at the top of the chord. So A7 is a four note chord A - C# - E - G .

In summary, dominant sevenths are major chords, with the extra note being found by going down two semitones from the root note.


TOP TIP:
Why are dominant sevenths called "dominant"?
This terminology comes from the degrees of the scale. The first note of the scale is refered to as the "tonic", and a chord formed from this note will called the "tonic chord". The fifth step up on the major scale is the dominant note, and so we call this the "Dominant chord", and if it has a seventh present in the chord, the "Dominant Seventh". This relationship of tonic and dominant is fundamental to virtually all music, whether it be folk, classical, hip hop or exotic indian ragas!
If you want to play around with chord, try playing G7 (G - B - D - F) followed by C, and repeating this. This gives you an "over the top" ending to a piece of music. (This device of repeating the dominant and tonic was commonly used at the end of classical symphonic works to signify that this really was the end of the work).


m7 Chords Theory

The minor seventh chord is one of several types of seventh chords (the other most common ones being the dominant seventh chord, and the major seventh chord).
Character of the chord
A rich sounding chord, with a subtle effect. Not as "sad" as a normal minor chord, and can have a different emotional impact depending on the context in which it is played.

Notation:
Minor Seventh chords are notated by adding the number seven to the minor notation. So C minor seven would be written "Cm7" or "Cmin7".

Cm7 chord notated


Theory - how minor seventh chords are constructed.
These chords are formed from a minor chord, with an added flattened seventh. Here's how you work them out:-
Dm7 chord


Were going to use Dm7 as an example here. First of all, work out the minor chord. This turns out to be D - F - A. Now, go two semitones down from the root note (this is D, in this case). Two down from D is C. To finish with, move the C up one octave. So now you have Dm7 = D - F - A - C.
(Minor sevenths do not have to played so that the seventh is played at the top of the chord. It can be played at the bottom, but usually we would need the left hand, or a bass instrument, to play the root note {D in this case} to make the bass clear if we did this).

So in summary, a minor seventh chord is the minor chord, with extra note two steps down from the root.


TOP TIP:
A great deal of jazz music is built around the use of seventh chords. Two minor seventh chords that work well as a chord sequence are Cm7 followed by Fm7. You could create a moody jazz piece by playing four Cm7 followed by four Fm7 in the left hand, and keep repeating this pattern. Once you are feeling confident with the chords, try improvising something in the right hand. If you're not sure what to play, try using these notes - C - Eb - F - G - Bb . This is known as the "penatonic minor scale on C". These notes will also work whilst you play the Fm7 chord. To make it easier to begin with, just choose three notes from the scale e.g. C, Eb, and F, and repeat these notes whilst you hold down the Cm7 chord in the left hand. Then try switching to Fm7, and do a similar idea with these notes in the right hand.


Maj 7 Chords Theory

This is one of the most common types of seventh chords in music, the other two being the dominant seventh, and the minor seventh chord. (There are eight different types of seventh chords, although only seven are in common practice).
Character of the chord
The major seventh chord has a "laid back", dreamy sound. It feels quite peaceful and restful.

Notation:
Major sevenths are written "Fmaj7" (if it's an F chord). In jazz notation, major sevenths are written with triangle after the letter name.

F maj7 notated


Theory - how to go about working out a major seventh chord.
These chords are formed from a major chord, with an added seventh. Here's how to work one out:-
Amaj7 chord


To begin with, work out the major chord. In this example, we have A major, which is A - C# - E. Next, go down just one semitone from the root note (the root note is the same as the name of the chord). So go down one step from A. This gets you to G#. To finish with, move this G# up one octave. So now you have the notes A - C# - E - G#. This is Amaj7!

So in summary, a major seventh chord is a major chord with an extra note, one down from the root.


TOP TIP:
One of the most famous pieces of music to use the major seventh chord is "Gymnopedie No.1" (by Eric Satie). If you want to re-create the feel of this work, play Gmaj7 (G - B - D - F#), followed by Dmaj7 (D - F# - A - C#). These are the chords that the music follows for the first 12 bars. To create a sound close to the original, play the chords in the left hand, so that you play the root note, followed by the rest of the chord e.g., G, then B - D - F# (played together). Do the same with the Dmaj7. Once you have mastered this, in the right hand play the notes F#, up to A, then going down to G, F#, and C#. These are the first two bars of "Gynmopedie", and are played as the left hand plays the chords. You will need to listen to the track to hear how these notes fall with the chords. Notice that the work begins with a single left hand note (G), and then the melody starts (on F# in the right hand) with the rest of the maj7th chord (played in the left hand). See if you can work out the rest! (Or at least the first section!)


9 Chords Theory

9th chords (especially "add9's") are great for creating a subtle and mellow feel to a standard major or minor chord.
Character of the chord
If a ninth is found in the middle of a chord, it will create a subtle warmth to the sound. if played at the top of the chord, it creates a slight feeling of suspension, but not as tense as a sus4 or dominant 7th chord.

Notation:
There are a number of varients to this chord, and each one has it's own written shorthand. "C9" means a major chord with a 7th and 9th. "Cm9" means play a minor chord with a 7th and 9th. "Cadd9" is a C major chord with a 9th (no 7th). Other varients are the flattened 9th. For example, Cmb9. Here you would play a C minor chord, with a 7th and flattened 9th (the 9th note here would be a Db).

C9 notated


Theory - how to work out any ninth chord.
A ninth chord is formed from any major or minor chord by adding the second degree of the scale to the chord. The seventh degree is usually included as well. If you're not confident with scales, here's another way of working them out:-
D9 chord


Here we're going to look at D9. Begin by working out the major chord, which is in this case is D - F# - A. Next you'll need to add a minor seventh to the chord (this will be a C, two down from the root note). Finally, the ninth. For this, find the root note of the chord (D) and add two semitones to it. (Remember that a semitone is the smallest step you can go in music). This gets you to E. So D9 would be played D - F# - A - C - E.
So far we looked at the standard ninth chord (also known as the dominant ninth). There's lots of cool varients to this chord. Here's some of the possibilities:-
Dmaj9
For this, work out the major chord, and the ninth as before. The only difference is the seventh note, which in this case is C#. This is because the "maj" part of the symbol refers to the seventh note, which should be played as a major seventh. A very sweet sounding chord.
Dm9
This is essentially a minor chord, with a minor seventh and a ninth. So the notes here would be D - F - A - C - E. Another great chord.
Dadd9
This is the same as D9, but without the minor seventh. So Dadd9 is D - F# - A - E.
The "add9" chords are one of my favourite types of chord. I often play them with this type of voicing ("voicing" is the order in which we play the notes) - D (in the left hand) and E - F# - A (in the right hand). I often replace a straight chord (such as "C" or "E" etc) with Cadd9 or Eadd9, to create a little more warmth in the sound.
D(b9)
Yet another type of ninth! This time the ninth is "flattened" so that it is one semitone down from where it originally was. Another way of looking at this is to count just one semitone up from the root note, and then put this note up one octave. Remember to add the minor seventh. So D(b9) would be D - F# - A - C - Eb
Other varients of the ninth chord can be created by using the flattened ninth with minor chords, or as an "addb9".


TOP TIP:
Here's a cool little chord sequence to experiment with:- Play two Cadd9's, playing them so that you play C in the left hand, and D - E - G in the right hand. Follow this with two ordinary C chords (C in the left hand and C - E - G in the right). Repeat this, so that the whole sequence is Cadd9, Cadd9, C, C, Cadd9, Cadd9, C, C. Then move to Am, F, and G, doing a similar thing with each chord.


11 Chords Theory

11 Chords, in a similar way to the ninth chords, have many permutations.
Character of the chord
This varies considerably, depending on what type of 11th chord is being played. The standard 11 (eg C11) has a degree of "suspense" feel due to the presence of the forth in the chord (more on this later).

Notation:
The "Dominant" 11 is written by the letter name of the chord, followed by the number 11. E.g. C11

C11 notated


Theory - how a 11th chord is constructed.
A standard (dominant) 11th chord is composed of a major (or minor) chord, with a minor seventh, and eleventh note added to this triad. Sometimes musicians also play the ninth as well.
So how do we work out the eleventh note?
F11 chord


Let's take F11 as an example. Begin by working out the major chord, and then figure out the minor seventh , and the ninth note . This will give you F - A - C - Eb - G.
Now go back to the major chord (F - A - C) and go up one step (one semitone) from the middle note. This is Bb. Now put this note up one octave. There it is! F11
F11= F - A - C - Eb - G - Bb

In practise, musicians rarely play all six notes of an 11 chord, unless these are specifically cited in the notation. Often the fifth note of the chord (the dominant, in the case of F11 would be C) is omitted. It is also common to omit playing the third, as there is a dissonance between the 11th note (Bb) and the third (A). However, if we do this, then we are really playing a Dsus4, all be it with a ninth present. This chord is often shown as 9sus4.


TOP TIP:
The "add11" varient of this chord makes for an intriguing sounding. Remember that making it "add11" means that ONLY the eleventh note is added to a major (or minor) chord. For instance, Dadd11 would be D - F# - A - G. (There's no sevenths or ninths). The reason this is unusual is because both the third and the forth note are present in the chord, generally considered dissonant. However, if we play it in the form of a broken chord (say playing D - F# - A repeatedly in the left hand, and D - G in the right hand an octave higher) then we can create an interesting "suspended" feel to a musical section.


Augmented Chords Theory

One of the most unstable triads in music.
Character of the chord
An unstable, dissonant sound. Used in atonal music due to it's lack of a tonal centre. ("tonal centre" refers to where the music is rooted, or grounded. If you were playing chords C, F, and G7, then C would be the tonal centre).

Notation
Augmented chords are shown by the letter name of the chord, followed by a + symbol. So E augmented is E+. They can also be written "Eaug" .

E+ notated

Theory - how to work out any augmented chord.
Augmented chords are formed from the root, the third, and the augmented fifth of any scale. Here's how to work one out if you're not familar with this musical terminology!:-
G+ chord


In this example we're going to look at G+. Firstly, work out G major chord. This will give you the notes G - B - D. Next, take the top note of the chord (D) and raise it by one semitone - that's just one step up the keyboard. This will get you to D#. So G+ is G - B - D#.
In a similar way to the diminished seventh chord, there a limited number of augmented chords. Beginning from C+ (which is C - E - G#), there is then C#+ (C# - F - Gx {A##}), D+ (D - F# - A#), and Eb# (Eb - G - B). Once we are at E (E - G# - B#{C}), we are playing the same notes again as the first chord, all be it in a different inversion. So there are really only four augmented chords possible.


TOP TIP:
Is there such a thing as a minor augmented chord?
Here's a chord seqeunce using the augmented fifth, this time in the minor. (In conventional musical theory, there's no such thing as a "minor augmented chord", as this is seen as a contradiction in terms. However, some musicians speculate that there is the need for this term). Indeed, in the James Bond Theme, the second chord is a Em+5.
Here's the chord sequence, if you want to have a go at it:-
Em, Em+5, Em6, Em+5
Em= E - G - B
Em+5= E - G - B#
Em6= E - G - C#
The term "Em+5" best describes what is happening here - the bass is staying on E, we are still in a minor mood, and the top note is moving up (on its way to C#, via the B#). Of course, this chord could be described as C/E, but notating it this way doesn't seem to capture the meaning or the context of the chord.


Diminished Chords Theory

There are three common types of diminished chords ("dim" chords). These are - the diminished triad, the diminished seventh, and the half-diminished seventh chords.
Character of the chord
Generally creates a very unstable feel to section of music, due the fifth note being flattened.

Notation:
Dim chords are commonly written with a small circle after the letter name. For example, E°. This can also be written Edim.

E° notated


Theory - how dim chords are formed.
A dinimished triad is formed from three notes - the root, the minor third (b3rd) and the flattened fifth (b5). Here's how to work one out, if your not familar with these terms:-
C° chord


Begin by thinking about what any minor chord would look like (In this instance, we're going to think about Cm=C - Eb - G). Next, go down one semitone from the top note of the chord. This gets you to Gb (F#). That's it! Cdim triad is C - Eb - Gb.
However, this is not the end of the story. A diminished seventh chord (as opposed to a diminished triad) also has a diminished seventh note in (a double flat note). This is worked out by taking the last note of the dim triad (in this case, a Gb) and going up three steps (three semitones - remember not to include the first key). This gets you to A (technically Bbb, B "double flat").
So C° is C - Eb - Gb - A
So if we want to play a C dim triad, this is usually notated Cmb5, or Cm-5. If we are called on to play a diminished seventh chord, this is notated C° or Cdim. However, in some modern jazz notation, C° means play the dim triad, and C°7 means play the diminished seventh chord!

Half-Diminished Seventh Chords:
Just to add to the confusion, there's another type of diminished seventh chord! This is the half-diminished seventh chord. These chords are notated with a diagonal line going through the circle, so C half-diminished seventh would look like this - Cø .They are a diminished seventh chord with a seventh that is flattened, not diminished. So Cø would be played C - Eb - Gb - Bb. These half-dim chords are very common in modern jazz, and are used as II chords, in the chord progression II, V, I. An example in C minor would be Dø - G7b9 - Cm. Jazz musicans will often refer to this chord as the "minor seventh flat five" , and notate it Dm7b5.


TOP TIP:
There are only three different types of diminished seventh chords possible. If we begin on C, there is C° (C - Eb - Gb - A), then Db° (Db - E - G - Bb), and then D° (D - F - Ab - B). However, when we start on the next key up (Eb), and form the Eb° (Eb - Gb - A - C), we are effectively playing the first chord again, in a different inversion. The same happens on the next key up (F, this is the same as the Db°)
If you like making theatrical effects on the piano, try playing the C° as a "tremolo" chord (rapidly playing the notes by rocking the hand from side to side), and then do the same with Db°, and then D°. Hey, now you might get some work accompanying an old black & white movie!


Flat Chords Theory

A great deal of misunderstanding revolves around this term!
Character of the chord
Can be major or minor, so there is no consistent character

Notation:
Any chord where the letter name (the root) has a flat (b) symbol following it. E.g. Bb

Bb notated


Theory - what do we mean by a "flat" chord?
Eb chord


A flat chord is any chord where the root (that's the bottom note of the chord) is a flat note, such as Eb major. The chord could be major, minor or an altered chord such as seventh or ninth.
Here's some common mistakes when we use this term:-
1. A flat chord is a chord with all black keys.
NOT TRUE - Eb (above) has the white key G. Lot's of "flat" chords have white keys in them!
2. Flat chords are minor chords, sharp chords are majors.
NOT TRUE - Eb (above) is a major chord! I guess it's easy to associate "going down" to a flat key with minor. Also, many common major chords are "flattened" to turn them into minor (e.g. C major {C - E - G} becomes C minor {C - Eb - G}, or G major {G - B - D} becomes G minor {G - Bb - D}). However, the "flat" refers to the root name of the chord, and not what is happening in the middle of the chord.
3. Flat chords are all white key chords, such as C major, F major, A minor etc.
The term to play a "flat chord" is sometimes used by keyboard or piano teachers as a way to help memorize the shape of the hand. For example, with C major, the hand strikes a flat surface to contact C, E and G. (Unlike D major {D - F# - A}, which is uneven due to the black key F#). In this sense, the chords C, D, F, G, and Dm, Em, Am and B° are all "flat" chords.
However, using the term this way creates confusion amongst students due to the way we usually talk about the word "flat" in music in relation to pitches such as Ab and Bb. Perhaps the term "level chords" would be less misleading.


TOP TIP:
It's worth noting some common shapes when it comes to playing flat chords. Eb (Eb- G - Bb), Ab (Ab - C - Eb), and Db (Db - F - Ab) are all played by the same hand shape, with the white key in the middle. Practise playing these chords on the piano, one after another. This will help in learning these common major triads.


Sharp Chords Theory

Like the term "flat chords" this is another popularly misunderstood phrase.
Character of the chord
Sharp chords have no consistant character, as they can be either major or minor.

Notation:
A sharp chord will always have a # symbol, after the letter name. For example C#. (This would be C sharp major, C#m would be C sharp minor).

C# notated


Theory - how sharp chords are worked out.
C# minor chord


A sharp chord can be any type of chord, starting on a sharp note. (For example C# major, C# minor, or C# diminished etc.) Here we have C# minor.
There's a lot of confusion surrounding this term. Let's deal with some popular urban myths about "sharp chords".
1. Sharp chords are chords where all the keys are sharp.
NOT TRUE - For example, in C# minor the middle note (E) is not sharp. However, most major sharp chords contain all sharp notes, such as F# (F# - A# - C#) and C# (C# - E# - G#).
2. Sharp chords are major chords, flat chords are minor chords.
NOT TRUE - C# minor is not a major chord! It's easy to make this mistake. To switch from a minor chord to a major chord, we have to raise the middle note by one step. When we do this, we may often land on a sharp key. For example, if we turn D minor (D - F - A) into D major (D - F# - A), the middle note has gone up from F to F#. However, the names of chords are referred to by their root notes (the bottom note of the chord) not the middle note.


TOP TIP:
Sharp chords are not as common as chords based on white keys such as D major and A major. To learn some sharp chords, look for patterns which are consistent between them, and practise them together. For example, on the piano F#m (F# - A - C#) G#m (G# - B - D#) and C#m (C# - E - G#) all have the same pattern in the hand of black - white - black. As a simple exercise, practise playing four C#m's in the right hand, followed by four F#m's and then four G#m's. Try doing this exercise a few times a day to make the chords more familiar. Once this is done, look for other chords which have similar patterns (such as all white key chords, or white - black - white chords) and practise these together as well.


Chord Inversions Theory

Any chord can be played in a number of different positions.
Character of the chord
When we "invert" a chord, the resultant sound is usually lighter and less definite than a chord in it's root position.

Notation:
In popular music, inverted chords are written with the bass letter name after the chord. For example, C/E is C chord, with E in the bass. In classical or serious music, figured basses are used to notate inversions.

C/E notated


Theory - how to work out chord inversions.
Any chord can be play in one of three positions:-
C major chord in root position

Root Position:
When it's in it's "root" position, the bottom note of the chord is the same as the name of the chord. For example, with C major in root position, the chord would be played with C at the bottom, like this = C - E - G.

C major chord in first inversion

First Inversion:
However, we can also play the same notes in a different place by moving the C to the top of the chord, so that now C is played E - G - C. When "E" is in the bass in a C major chord, we call this "C major 1st inversion", and write it "C/E".

C major chord in second inversion

Second Inversion:
If we take C/E, and move the E to the top of the chord, we have created the second inversion of C major. Here the notes would be G - C - E, and we write this C/G.

We can apply this technique to any chord (major, minor, diminished or augmented) and create inversions. Just move the bottom note to the top of the chord to work through the positions.
Here's another example:-
G (in root position) = G - B - D
G/B (Ist inversion) = B - D - G
G/D (2nd inversion) = D - G - B

A common misunderstanding:
People frequently think that if they see the symbol G/B it means play either G or B! Remember that the first letter refers to the chord that it is to be played, the second letter refers to the bass note (what the bass player might play, or what might be played in the left hand by the piano player).

The third inversion;
After the second inversion, if we move the bass note to the top of the chord again (e.g. with C/G, the notes being G - C - E) we get back to where we started (e.g. with C, the notes now being C - E - G). This is true for all triad chords.
However, some chords contain four or more notes, such as seventh chords. Here, it is possible to have a third inversion, before we are back to root position again. For instance, C7:-
C7 (root position) = C - E - G - Bb
C7/E = E - G - Bb - C
C7/G = G - Bb - C - E
C7/Bb = Bb - C - E - G
This theory can be applied to any four note chord.


TOP TIP:
Here's a great way of practising inversions on the piano - a four chord progression based on Am.
First, play the chords Am, G, F and E. Once you're fairly confident with this, play Am in it's root position (A - C - E), then it's first inversion (C - A - E), then it's second inversion (E - A - C), anf finally back to the first inversion. Then move to the next chord (G), and do a similar thing, then repeat this with F and E chords. Hold the sustaining pedal through each chord, only change it when you move to the next one (e.g. from Am to G etc.)
You can vary this by playing the same thing as broken chords. E.g. play each note of Am one by one - A, then C then E. Do this with the first inversion, and then the second. Then, play the second inversion once more, this time playing the notes from the top down (C, A, then E). Now play the first inversion from the top down, and finally play the root position in the same way. Once this is done, see if you can move to the next chord in the sequence (G) and do the same thing, and follow this with F and finally E chords.
Another chord sequence that works well with this is one based on Em. Here the chords are Em, D, C and B.