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Title: Music and Dances from Central Nepal: The Works of Subi Shah

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dc:title Music and Dances from Central Nepal: The Works of Subi Shah
dc:date 2026-08-26T12:56:54Z
dc:language en-GB
dc:identifier urn:uuid:29d919dd-24f5-4384-be78-b447c9dc299b | 978-1-80064-174-7 | https://doi.org/10.11647/OBP.0246
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dcterms:modified 2026-08-27T11:19:06Z
schema:accessibilitySummary This publication conforms to WCAG 2.0 AA.
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Outlines

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TOC Outline

  1. Cover
  2. Title
  3. Copyright
  4. Contents
  5. A Note on the Text
  6. A Note on Audiovisual Recordings
  7. Acknowledgments
  8. 1. Translator’s Introduction to the Project: Subi Shah and his Worlds of Performance and Scholarship
  9. 2. ‘A Short Account of my Life in Folk Music’
  10. 3. ‘Pāṅgdure (Mārunī) Folk Dances’
  11. 4. Mādal
  12. 5. Introduction to Nepali Tunes
  13. Bibliography
  14. Glossary
  15. List of Figures
  16. List of Tables
  17. List of Video Recordings
  18. List of Audio Recordings
  19. Indexes
  20. About the Team
  21. This book need not end here…
  22. You may also be interested in:
  23. Back cover

Headings Outline

  • MUSIC AND DANCES FROM CENTRAL NEPAL
  • Volume I
  • Music and Dances from Central Nepal
    • The Works of Subi Shah
      • Volume I
      • Edited by Anna Stirr, Mason Brown, Hikmat Khadka, and Lochan Rijal
      • with Rajan Shrestha (Audio Production)Dinesh Raj Upadhyaya (Video Production)Rita Thapa Magar (Community Coordinator, Sankhu Sohraghar)Ram Bahadur Sundas (Community Coordinator, Jyamrung)Dhruva Shah (Community Coordinator, Jyamrung)
      • Sankha Devi Jyamrung Darbar Pañchai Bājā, JyamrungJalkanya Devi Yuva Club, Sankhu Sohraghar
      • And the performers and villagers of Jyamrung and Sankhu Sohraghar
  • Contents
  • A Note on the Text
  • A Note on Audiovisual Recordings
  • Acknowledgments
  • 1. Translator’s Introduction to the Project: Subi Shah and his Worlds of Performance and Scholarship
    • Anna Stirr
    • Subi Shah’s Lifeworlds: Religion, Politics, and Performance
    • Preserving and Developing Nepali Music
    • Nationalism, Modernism, and Classicization
    • Folklore and Music Studies in Nepal
    • Subi Shah after Army Retirement: Further Documentation and Publishing
    • Our Methods and Limits
    • Our Approach to Translation
    • Our Approach to Musical Notation
    • Video Recordings
    • Audio Recordings
      • Subi Shah’s Audio Recordings
      • Our Team’s Audio Recordings
    • Subi Shah’s Dedication, and More Thoughts on Translation
  • 2. ‘A Short Account of my Life in Folk Music’
    • Subi Shah
    • My Introductory Speech about Folk Song
  • 3. ‘Pāṅgdure (Mārunī) Folk Dances’
    • Translator’s Introduction: Pāṅgdure Dances and their History in Nepal and Jyamrung
      • Pāṅgdure, Mārunī, and Siṅgāru Dances: Their Development in Medieval Nepal
      • Mārunī/Pāṅgdure/Siṅgāru as an All-Male Genre: Female Impersonation, Costumes, and Gender
      • Pāṅgdure Dances in Jyamrung Village
      • Pāṅgdure Dances in Sohraghar Village
      • Jhyaure, Khyālī, and Chuḍkā
    • ‘Pāṅgdure (Mārunī) Folk Dances’
    • Khyālī Dance
      • Khyālī Tāl
    • Charitra Dance
      • Songs Sung in Charitra Tāl
      • Charitra Tāl, Six Beats
    • Soraṭhī Dance
      • Branches of Soraṭhī Songs
      • Song in Lāmī Tāl
      • Song in Chhoṭī Tāl
      • Song in Lāmī Tāl
      • Song in Chhoṭī Tāl
      • Song in Lāmī Tāl
      • Song in Chhoṭī Tāl
      • Song in Lāmī Tāl
      • Song in Chhoṭī Tāl
      • Tāls in Soraṭhī
      • Soraṭhī Lāmī Tāl
      • Soraṭhī Chhoṭī Tāl
      • Parts of Soraṭhī Dance
      • Dance in Lāmī Tāl
      • Dance in Chhoṭī Tāl
    • Jhyāure Dance
      • Jhyāure Meter
      • Hillside Meter (Pākhe Chhanda)72
      • Jungle Meter (Jaṅgalī Chhanda)75
      • Ṭhāḍo Bhākā Meter
      • Jhyāure Tāl
    • Chuḍkā Dance
      • Lok-Laharī Chuḍkā
      • Bhajan Chuḍkā
      • Chuḍkā
      • Pāṅgdure Chuḍkā
  • 4. Mādal
    • Translator’s Introduction
      • The Mādal in Nepali Music
      • Mādal Bols: The Drum Syllables
      • Mādal Bols: The Patterns of Syllables
      • Mādal Tāls
      • Recorded Examples of Tāls, Bols, and Songs to Accompany Mādal
      • The Mādal and Goddess Possession in the Context of Pāṅgdure Dances
    • Mādal
    • Preface
    • Origins and Development of the Mādal
    • Mādal Construction
      • Covering the Mādal
      • Mādals with Kharī Added
      • Names of the Different Parts of the Mādal
      • Mādal Bols
    • Rules of Mādal Playing
      • Producing the Mādal Bols
    • Introduction to Tāl
    • Jhyāure Tāl
      • Supplementary Videos for Jhyāure Tāl
    • Khyālī Tāl
      • Supplemental Videos of Khyālī Tāl
    • Charitra Tāl
      • Song in Charitra Tāl: Please Protect Us, Mother Saraswati
      • Supplementary Video for Charitra Tal
    • Soraṭhī Tāl
      • Supplementary Videos for Sorathi Tāls
    • Garrā Bā̃dhne Tāl
      • Supplementary Video for Garrā Bā̃dhne Tāl
    • Ṭhakan Hānne Tāl
    • The Present Reality
  • 5. Introduction to Nepali Tunes
    • Translator’s Introduction
    • Notation, Nationalism, and the Classical
    • The Pañchai (Naumatī) Bājā in Jyamrung
      • A Theory of Melody Based on the Flute and Sahanāī
        • The Instruments
        • The Theory
        • Fingerings, Modes, and Melodies
    • Introduction to Nepali Tunes
      • ***
    • Tunes Played by the Pañchai Bājā of Dhading Jyamrung VDC
      • Tunes Played in the Four Quarters of the Day
      • Tunes Played in the Four Quarters of the Night
    • Places of Notes in Various Notation Systems
      • Places of Notes in Vedic Classical Notation
      • Places of Notes in Bhatkhande Notation
      • Places of Notes in Western Solfege Notation
      • Places of Notes in Western Neumes65 Notation
      • Places of Notes According to Nepali Modes
      • Places of Notes in Nepali Tune Notation
      • Places of Notes in Nepali Tunings
      • Practice: Nepali Note Places
      • Placement of Notes in Low and High Octaves67
    • Keyboard Diagram Showing Tunings/Note Groups as Modes of a C-Major Scale
    • Song Tunes According to Rules of Nepali Modes
    • Rule 1: Six-Hole Tuning
      • Flute Fingering Diagram for Notes in Six-Hole Tuning69
      • Unmetered Tune in Six-Hole Tuning
      • Khyālī Bhākā Song
      • Rām Sāilā71
      • Khyālī Bhākā Song: Rām Sāilā
      • Jhyāure Song: Khānna Ma Ta Kalaiko Pānī/I Won’t Drink Machine-Pumped Water
      • Nepali Folk Song Tune
    • Rule 2: Five-Hole Tuning
      • Unmetered Tune in Five-Hole Tuning
      • Jhyāure Bhākā Song: Jindagī Oilāyo/Life is Fading
      • Jhyāure Song: Khānna Ma Ta Kalaiko Pānī/I Won’t Drink Machine-Pumped Water
      • Khyālī Bhākā Song: Jalesī Pānpāte Jhamke Bulākī/Dangling Gold Nose Ring
    • Rule 3: Four-Hole Tuning
      • Unmetered Tune in Four-Hole Tuning
      • Khyālī Bhākā Song: He Bir/Hey Brave One
      • Charitra Bhākā Song: Najāū Dājyū Bideśa/Older Brother, Don’t Go Abroad
    • Rule 4: Three-Hole Tuning
      • Unmetered Tune in Three-Hole Tuning
      • Jhyāure Song: Khānna Ma Ta Kalaiko Pānī/I Won’t Drink Machine-Pumped Water
      • Khyālī Bhākā Song: Jānai Lāgyo/Almost Gone
      • Auspicious Folk Song (Mangal): Bhajamana Nārāyaṇa/Reverence for Narayan
      • Soraṭhī Songs
    • Rule 5: Two-Hole Tuning
      • Unmetered Tune in Two-Hole Tuning
      • Jhyāure Song: I Won’t Drink Machine-Pumped Water
      • Khyālī Bhākā Song: Uḍī Jāne Rānī Charī/The Queen Bird Flies
    • Rule Six: One-Hole Tuning
      • Unmetered Tune in One-Hole Tuning
      • Khyālī Bhākā Song: Munāle Māilī/Sprout, Maili
      • Charitra Bhākā Song: Older Brother, Don’t Go Abroad
    • Rule 7: Open-Hole Tuning
      • Unmetered Tune in Open-Hole Tuning
      • Jhyāure Song: Pānī Paryo Gairīmā Tāl Paryo/It Rained and a Lake Formed in the Hollow
      • Jhyāure Song: Kā̃ Gaera Ke Hune Chha Ra/What Good Is It to Go Away?
  • Bibliography
  • Glossary
  • List of Figures
  • List of Tables
  • List of Video Recordings
    • Mādal Demonstrations for ‘Pāṅgdure (Mārunī) Folk Dances’
    • 2005 Interview with Subi Shah: Genres and their Structures
      • (Videos provide subtitles for audio recordings)
    • Pitambar Sundas and Lal Bahadur Pariyar Singing
    • Mādal Demonstrations for Mādal
      • (These follow the notation provided by Subi Shah in Mādal)
    • Supplementary Mādal Demonstrations for Mādal: Sankhu Sohraghar
      • (These are local stylings and exemplify alternatives to what Subi Shah notated)
    • Supplementary Mādal Demonstrations for Mādal: Jyamrung
      • (These are local stylings and exemplify alternatives to what Subi Shah notated)
    • Pāṅgdure Dance Performances and Pujā in Sankhu Sohraghar
      • (These are local stylings and exemplify alternatives to what Subi Shah notated)
    • Popular Dances Performed in Non-Pāṅgdure Styles
      • (These well-known dances are performed by pāṅgdure troupes as well, but the troupes with which we worked were not performing them in their specific pāṅgdure styles)
    • Sankha Devi Jyamrung Pañchai/Naumatī Bājā: Rāgas and Tunes
    • Supplementary Sahanāī Videos Demonstrating Pañchai Bājā Rāgas and Tunes
      • (Not all these tunes and rāgas appear in Shah’s writings, but we include this entire set of videos at the performers’ request, to expand the selection of pañchai bājā repertoire available for reference)
    • 2005 Interview with Subi Shah: Conversations about Tunings, and Unmetered Flute Airs in Each Tuning
      • (Videos provide subtitles for audio recordings. Recordings include tape recorder being played, with Subi Shah’s commentary and flute playing. The original tapes have not been found)
  • List of Audio Recordings
    • Songs for Mādal
      • (These audio recordings featuring madal and vocals reproduce the notated songs in Shah’s book Mādal, with their intended purpose of mādal practice in mind)
    • Subi Shah’s Full Demo Album Lok Bhākāmā Ekal Prayās
    • From Studio Album Subi Shahko Ekal Prayāsa (Music Nepal, 2007)
  • Indexes
    • Index of Topics
    • Index of Songs by First Lines
  • About the Team
  • This book need not end here…
    • Share
    • Donate
    • We invite you to connect with us on our socials!
    • Read more at the Open Book Publishers Blog
  • You may also be interested in:
  • Contents
    • Landmarks

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Cover: Music and Dances from Central Nepal, Volume 1 by Anna Marie Stirr, Mason Brown, Hikmat Khadka and Lochan Rijal. Book cover with a deep red background and a photograph of a lively outdoor cultural performance in central Nepal. Dancers in traditional dress, including white, red, and patterned garments with floral garlands, perform in a circle while musicians play drums. A large crowd watches with forested hills in the distance. The title highlights music and dance traditions and the works of Subi Shah. Cover image: Dancers from the Jalkanya Yuva Club in Sankhu Sohraghar, Dhading, Nepal, performing Charitra dance, 7 January 2023. Photo by Anna Marie Stirr, all rights reserved. Cover design: Jeevanjot Kaur Nagpal N/A N/A N/A cover.xhtml#epubcfi(/4/2/2) doc-cover
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Photograph of a traditional two-storey Nepali vernacular house, built largely from red brick with a steeply pitched roof covered in overlapping clay tiles. The upper floor has a row of arched openings sheltered beneath deep eaves supported on wooden brackets, while the ground floor features a covered veranda with timber posts and balustrades beneath a corrugated metal awning. A small triangular gable window with an arched wooden frame sits beneath the roof apex. The building shows signs of age and weathering, including missing plaster and worn timber, and is set among trees with a low stone boundary wall in the foreground. N/A N/A N/A ch2.xhtml#epubcfi(/4[Stirr-0246]/2[Container019]/12/2[Container014]/2) N/A
Studio portrait of an elderly man, photographed against a draped red curtain backdrop. He wears a black peaked cap, a dark suit jacket over a white shirt, and a broad red sash around his neck. Pinned to his chest is a row of military medals on striped ribbons, together with a small decorative pin on his lapel. He has a grey moustache and goatee, and gazes directly at the camera with a solemn expression. N/A N/A N/A ch2.xhtml#epubcfi(/4[Stirr-0246]/2[Container019]/30/2[Container015]/2) N/A
Photograph of an elderly man sitting cross-legged on a bedroom floor beside an open wind-up gramophone housed in a dark wooden cabinet. He wears a beige kurta suruwal and a patterned Nepali topi, and reaches towards the gramophone's turntable with one hand while smiling. Several shellac disc records in worn paper sleeves are scattered on the floor in front of him. In the background, a dressing table holds framed photographs, and a made bed with a red-embroidered white cover is visible to the right; patterned curtains cover the window behind. N/A N/A N/A ch2.xhtml#epubcfi(/4[Stirr-0246]/2[Container019]/36/2[Container016]/2) N/A
Photograph taken inside an auditorium during a public event. In the foreground, a man stands wearing a light-coloured traditional outfit and a white Nepali topi, his palms pressed together in a namaste gesture towards a seated audience. Behind him, another man in military-style uniform stands near a curtained doorway marked with an illuminated exit sign. Rows of seated audience members, many wearing traditional dress and topis, applaud from tiered auditorium seating decorated with hanging paper streamers. N/A N/A N/A ch2.xhtml#epubcfi(/4[Stirr-0246]/2[Container019]/42/2[Container017]/2) N/A
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Group photograph of six people standing in a line outdoors, with hazy hills in the background and a strip of dry grassland underfoot. Two young performers on the left wear matching red velvet tops, dark floral-patterned ankle-length skirts, gold ornamental headpieces, and layered yellow bead necklaces. Beside them stands a woman in a maroon top and a dark red patterned shawl draped over a long skirt, wearing an orange marigold garland. An elderly man in the centre wears a white headwrap, a dark waistcoat over a striped shirt, and a white and red skirt-like garment, also garlanded with marigolds. Two older men on the right, both wearing traditional Nepali topis and marigold garlands, each hold a double-headed hand drum (a madal-type membranophone) horizontally in front of them. N/A N/A N/A ch3a.xhtml#epubcfi(/4[Stirr-0246]/2[Container064]/118/2[Container022]/2) N/A
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First page of a three-page notation example for 'Khyālī Tāl', a Nepali drum rhythmic cycle, presented as a two-line musical staff with spoken rhythmic syllables (bol) written beneath the notes rather than conventional note names. The page is headed 'Khyālī Tāl' and opens with a 16-beat pattern for starting the khyālī dance, written across two lines of notation using syllables including Phat, Pha, Ta, Na, Ka, Jhyām, Dhīn, Dhī, and Tāng. Below this, a second section labelled 'Ordinary 8-beat bols for playing after the dance has started' gives three further short rhythmic variants (a, b, c), each notated on its own staff line with its own sequence of bol syllables. N/A N/A N/A ch3a.xhtml#epubcfi(/4[Stirr-0246]/2[Container064]/450/2[Container032]/2) N/A
Second page of a three-page notation example for 'Khyālī Tāl', continuing directly from the previous page with a section headed '4-beat bols for ordinary playing after the dance has started'. Four short rhythmic variants, labelled a to d, are notated on separate staff lines, each using a different short sequence of bol syllables such as Tāng, Na, Ka, Dhīm, and Tā repeated across the four-beat cycle. The remainder of the page is blank. N/A N/A N/A ch3a.xhtml#epubcfi(/4[Stirr-0246]/2[Container064]/454/2[Container033]/2) N/A
Third page of a three-page notation example for 'Khyālī Tāl', headed '44-beat bol for establishing and ending the tāl, and playing with the rahanī'. Six lines of staff notation set out a single extended 44-beat rhythmic sequence, built mainly from the syllables Tāng, Dhīn, Dhī, Nā, Na, Ka, Pha, and Ta, with the final line resolving to a sustained Tāng before the double bar line marking the end of the cycle. N/A N/A N/A ch3a.xhtml#epubcfi(/4[Stirr-0246]/2[Container064]/458/2[Container034]/2) N/A
Hierarchical tree diagram, in a vertical flowchart style with pale blue rounded boxes bordered in dark blue, setting out a classification of Khyali song types. At the top, 'Khyali' branches into three categories: Historic Khyali Songs, Khyali Songs, and Khyali Bhaka Songs. Khyali Bhaka Songs further branches into six categories: Bhajan, Chudka, Selo, Ghatu, Various other songs, and Seasonal Songs. Seasonal Songs divides into five named seasonal song types: Phagu, Deusure, Sangini, Rateuli, and Bhailo. N/A N/A N/A ch3a.xhtml#epubcfi(/4[Stirr-0246]/2[Container064]/470/2[Container035]/2) N/A
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First page of a three-page notation example for 'Charitra Tāl', a Nepali drum rhythmic cycle, presented as staff notation in 6/8 time with spoken rhythmic syllables (bol) written beneath the notes. The page is headed 'Charitra Tāl' and opens with a section labelled '6-Beat Bols to Begin the Tāl', giving two short variants (a, b) built from syllables including Phat, Dhīm, Tāng, and Jhyām. Below this, a longer section headed '6-Beat Bol Played During Songs' sets out six further variants (a to f) on separate staff lines, each using different short combinations of the same core syllable set, with some notes linked by beams to show grouped rhythmic figures. N/A N/A N/A ch3a.xhtml#epubcfi(/4[Stirr-0246]/2[Container064]/752/2[Container044]/2) N/A
Second page of a three-page notation example for 'Charitra Tāl', numbered '2' at the top and continuing directly from the previous page with a final 6-beat variant (g). Below this, a section headed '12-Beat Bol Played During Songs' presents three variants (a to c) on separate staff lines, again using the syllables Tāng, Dhīm, Nā, Jhyām, and Phat. The lower part of the page introduces a '36-beat beginning bol for after dancers crouch down', notated across two long staff lines using an extended sequence of the same syllables, including the additional syllable Dhu. N/A N/A N/A ch3a.xhtml#epubcfi(/4[Stirr-0246]/2[Container064]/756/2[Container045]/2) N/A
Third page of a three-page notation example for 'Charitra Tāl', numbered '3' at the top, continuing the 36-beat bol from the previous page and closing with a short concluding phrase. Below this, a section headed 'Bol for signaling dancers to crouch down, mixed with sorathī' sets out five further rhythmic variants across different time signatures, including passages in 2/4 and 6/8, each notated on its own staff line with a corresponding sequence of bol syllables such as Dhīm, Tāng, Jhyām, and Phat. N/A N/A N/A ch3a.xhtml#epubcfi(/4[Stirr-0246]/2[Container064]/760/2[Container046]/2) N/A
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Notation page headed 'Soraṭhī Lāmī Tāl', presented as staff notation with spoken rhythmic syllables (bol) written beneath the notes rather than conventional note names, in a mixture of 7/8 and 6/8 time. The page opens with a 14-beat pattern for the tāl, followed by a section headed 'Bol for establishing the tāl', giving two further short variants; the syllables used throughout include Jhyām, Dhīm, Tāng, Pha, Ta, Phat, and Dhī, with some syllables linked by slurs to show combined or hyphenated pronunciation. N/A N/A N/A ch3b.xhtml#epubcfi(/4[Stirr-0246]/2[Container064]/318/2[Container051]/2) N/A
Second page of notation, numbered '2' at the top and headed 'Soraṭhī Chhoṭī Tāl', presented as staff notation with bol syllables written beneath the notes in alternating 7/8 and 4/4 time. A section headed 'Bol to join lāmī tāl and chhoṭī tāl' is followed by three further sections labelled 'Ordinary 8-beat bol' and 'Bol for Establishing the Tāl', each giving one or two short rhythmic phrases using the syllables Jhyām, Dhīn, Tāng, and Phat. N/A N/A N/A ch3b.xhtml#epubcfi(/4[Stirr-0246]/2[Container064]/326/2[Container052]/2) N/A
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First page of a two-page notation example headed 'Jhyāure Tāl', presented as staff notation in 6/8 time with bol syllables written beneath the notes. The page sets out an 'Ordinary 6-beat bol' variant, a '12-beat bol for the beginning of a dance' with three further variants (a to c), and a '6-beat bol to signal dancers to crouch down', using syllables including Dhīm, Tā, Tat, Dhī, Nā, Jhyām, Dhum, Gum, Phat, and Tāng. N/A N/A N/A ch3b.xhtml#epubcfi(/4[Stirr-0246]/2[Container064]/534/2[Container058]/2) N/A
Second page of a two-page notation example for 'Jhyāure Tāl', numbered '2' at the top and continuing directly from the previous page. It sets out a '6-beat bol to signal dancers to spin while moving diagonally', '12 and 6-beat bols to signal dancers to jump' with two variants, and a section headed 'Bols to end the tāl' with two further variants, all notated on separate staff lines using the same core syllable set of Dhīm, Nā, Dhī, Jhyām, Dhum, Gum, and Tāng. N/A N/A N/A ch3b.xhtml#epubcfi(/4[Stirr-0246]/2[Container064]/538/2[Container059]/2) N/A
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Notation page headed 'Pāṅgdure Chuḍkā', setting out the four-beat bol for Chuḍkā Tāl in 4/4 time. A 'Beginning Bol' line uses the syllables Pak, Kum, and Dum; a section headed 'Bol played during the dance' gives three further variants (a to c) built from Pak, Tā, Dum, and Pa Ka; and a 'Final tāl ending bol' section closes the sequence with a phrase built from Dum and Pak, followed by a single sustained Pak held for four beats. N/A N/A N/A ch3b.xhtml#epubcfi(/4[Stirr-0246]/2[Container064]/822/2[Container062]/2) N/A
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Group photograph taken outdoors on dry, sandy ground with hazy wooded hillsides in the background. A large crowd of onlookers, mostly men wearing Nepali topis, stands in the middle distance beside a tree and a video camera on a tripod. In the foreground, two elderly men each hold and play a double-headed hand drum slung at waist height, both wearing marigold garlands. To their right stand two young performers in red tops: one wears a white and red skirt-like garment with a blue sash and a white headwrap, the other wears a dark floral-patterned skirt, both with ornamental headpieces and marigold garlands. A further young performer in a red top and dark patterned skirt stands apart on the far left of the frame. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/20/2[Container066]/2) N/A
Simple line drawing of two drum shells shown side by side, each a barrel-shaped wooden body tapering slightly towards its lower end, divided into three horizontal bands by thin encircling lines. The drum on the right has its bands shaded with small triangular hatching marks suggesting a woven or knotted texture, while the drum on the left is left plain and unshaded. Neither drumhead is visible; only the hollow oval opening at the top of each shell is shown. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/172/2[Container067]/2) N/A
Line drawing of two drum shells shown side by side, each covered in closely spaced vertical lacing lines running the length of the body and crossed by two or three horizontal binding lines. The drum on the left shows a small diamond-shaped marking at the centre of its top head, while the drum on the right shows its top head as a plain oval opening. Both shells taper towards the base, and the lacing pattern is drawn in a slightly looser, more sketch-like style than in the neighbouring diagrams. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/182/2[Container068]/2) N/A
Line drawing of two drum shells shown side by side, smaller and positioned toward the centre-right of an otherwise blank page. Both shells are covered in vertical lacing lines with horizontal binding bands, similar to the neighbouring illustration, but the top head of each drum is filled solid black at its centre, suggesting the drumhead's central tuning patch. The drum on the left is angled slightly, while the one on the right is more upright and slightly taller. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/190/2[Container069]/2) N/A
Line drawing of a single drum shown from a three-quarter angle, with eight numbered leader lines (1 to 8) pointing to different parts of the instrument. Line 1 points to the curved skin of the near drumhead; the two lines numbered 2 point to the lacing rings at each end of the shell; lines 3 and 4 point to the tensioning cords at the outer edges; line 5 points to the inner lacing ring; line 6 points to the lower edge of the near drumhead; and lines 7 and 8 point to the woven lacing pattern along the underside of the body. Small cross-shaped marks are visible along one row of the lacing. The numbers are not otherwise defined on the page itself, so the parts they reference should be confirmed against the accompanying caption or key. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/198/2[Container070]/2) N/A
Line drawing of two hands shown separately against a blank background, both with palms angled towards the viewer and fingers held together and slightly curved. The hand on the left is shown from a more front-on angle with the thumb extended to the side, while the hand on the right is angled further away, showing more of the palm's inner edge; fine lines indicate palm creases and finger joints on both. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/264/2[Container071]/2) N/A
Line drawing of two hands shown separately against a blank background, similar in style to the neighbouring illustration but with the fingers held further apart, creating visible gaps between them. Both hands are angled with palms facing the viewer and fingers curved slightly inward; fine lines indicate palm creases and finger joints, and the thumb is extended to the side on each hand. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/268/2[Container072]/2) N/A
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Second page of a two-page notation sheet, numbered '2' at the top, continuing a numbered sequence of short rhythmic exercises. It presents Exercises 9 to 15, each given as a labelled phrase of bol syllables (for example 'Phat + Phat + Tāng + Phat + Dhīn + Tāng + Dhīn') followed by its corresponding staff notation, in time signatures that vary between exercises, including 6/8 and 4/4; syllables used include Phat, Tāng, Dhīn, Jhyām, Thām, and Naka. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/290/2[Container075]/2) N/A
First page of a two-page notation sheet headed 'Exercises 1-15', presenting Exercises 1 to 8. Each exercise is introduced by a labelled phrase spelling out its bol syllables (for example 'Exercise 1: Jhyām + Dhīm + Tāng') and followed by the corresponding staff notation, with time signatures varying between exercises, including 6/8, 4/4, and 7/8; syllables used include Jhyām, Dhīm, Tāng, Dhīn, Phat, Dhum, Nā, Gum, and hyphenated syllables such as Pha-ta and Dhi-na. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/294/2[Container076]/2) N/A
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First page of a four-page notation example headed 'Jhyāure Tāl', combining rhythmic staff notation with numbered footwork or hand-beat counts written above and below the noteheads. Two introductory 6-beat patterns are shown with steps numbered 1 to 3 and 1 to 4, followed by a section headed 'Simple 6-beat bol' giving three lettered variants (a to c) in bol syllables such as Dhīn, Tā, Tat, and Nā, and a final section beginning a '12-beat bol to begin playing the madal in a song', again with numbered beat counts above the stave. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/332/2[Container078]/2) N/A
Second page of a four-page notation example, numbered '2' at the top, continuing the numbered beat-count notation from the previous page. It completes the 12-beat bol with five lettered variants (a to e) in syllables such as Jhyām, Dhum, Nā, Gum, Dhīn, and Tāng, followed by a section headed '3 and 6-beat bol for signaling dancers to crouch down in place and do hand gestures', giving four further lettered variants (a to d) using the syllables Dhum, Dhīn, and Tāng. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/336/2[Container079]/2) N/A
Third page of a four-page notation example, numbered '3' at the top, continuing the same numbered beat-count notation style. It presents a '6-beat chhekaro khāne bol for after dancers have crouched down' with two variants (a, b) in syllables including Dhī, Nā, Dhum, and Dhu, followed by a '6-beat bol to signal to dancers to crouch down' with three variants (a to c) using the syllables Dhīn, Tāng, and Phat. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/340/2[Container080]/2) N/A
Fourth page of a four-page notation example, numbered '4' at the top, concluding the sequence. It presents a '12-beat bol for jumping up from a crouched position' using the syllables Jhyām, Dhum, Nā, Gum, and Tāng, followed by a section headed '30 and 24-beat bols for ending the tāl' with two lettered variants (a, b), each a long combined phrase built from the same core syllables (Dhīn, Tāng, Jhyām, Dhum, Nā, Gum, Phat, and Dhīn) repeated and extended across the full length of the tāl. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/342/2[Container081]/2) N/A
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First page of a nine-page notation for 'Jhyāure song', combining a melody line in staff notation with sargam solfège syllables (Sā Rē Gā Pā Dhā, abbreviated S R G P D with dot marks showing octave) written above a lower percussion staff. Transliterated Nepali lyric syllables are written in italics beneath the sargam, with underlines showing which syllables are sustained; the lower rhythm staff is mostly empty on this opening page, holding only rests before the drum part begins. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/406/2[Container084]/2) N/A
Second page of a nine-page notation for 'Jhyāure song', numbered '2' at the top and continuing directly from the previous page. It carries on the melody, sargam, and lyric syllables, and the lower percussion staff now introduces bol syllables — including Dhīn, Tāng, Jhyām, Dhum, Nā, Gum, and Phat — aligned beneath the corresponding melodic phrases. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/410/2[Container085]/2) N/A
Third page of a nine-page notation for 'Jhyāure song', numbered '3' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff using the bol syllables Dhīn, Tā, Tat, Dhī, Nā, Tāng, and Phat throughout. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/414/2[Container086]/2) N/A
Fourth page of a nine-page notation for 'Jhyāure song', numbered '4' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, with the bol pattern shifting partway down the page from Dhīn-Tā-Tat-Dhī-Nā phrases to a Dhīn-Tāng-Tāng pattern for the closing lines. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/418/2[Container087]/2) N/A
Fifth page of a nine-page notation for 'Jhyāure song', numbered '5' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, with the bol pattern shifting partway down the page to a repeating Dhī-Nā phrase that continues into the following page. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/422/2[Container088]/2) N/A
Sixth page of a nine-page notation for 'Jhyāure song', numbered '6' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, with the repeating Dhī-Nā bol pattern carried over from the previous page before shifting to Tāng and then Jhyām-Dhum-Nā-Gum phrases towards the bottom. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/426/2[Container089]/2) N/A
Seventh page of a nine-page notation for 'Jhyāure song', numbered '7' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, using a repeating Jhyām-Dhum-Nā-Gum bol pattern that shifts to Dhīn-Tāng-Phat-Tāng phrases towards the end of the page. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/430/2[Container090]/2) N/A
Eighth page of a nine-page notation for 'Jhyāure song', numbered '8' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, with the bol pattern moving through Dhīn-Tāng-Phat-Tāng, Dhīn-Tā-Tat-Dhī-Nā, and Jhyām-Dhum-Nā-Gum phrases across its four lines. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/434/2[Container091]/2) N/A
Ninth and final page of the notation for 'Jhyāure song', numbered '9' at the top, closing the piece with a single held Tāng syllable in the percussion staff beneath a final bar of rest in the melody line. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/438/2[Container092]/2) N/A
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First page of an eight-page notation headed 'Khyālī Tāl', presented as staff notation with bol syllables written beneath the notes in 4/4 time. It sets out '1) 16-beat bol for starting khyālī' across two staff lines, using the syllables Phat, Pha, Ta, Na, Ka, Jhyām, Dhīn, Dhī, and Tāng. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/476/2[Container096]/2) N/A
Second page of an eight-page notation for 'Khyālī Tāl', numbered '2' at the top, headed '2) Ordinary 8-beat bols for playing in a song'. Four lettered variants (a to d) are notated on separate staff lines, each using a different combination of the syllables Dhīn, Trī, Tā, Na, Ka, Dhī, Tāng, Phāt, Pha, Ta, and Jhyām. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/484/2[Container097]/2) N/A
Third page of an eight-page notation for 'Khyālī Tāl', numbered '3' at the top, headed '3) 16-beat bol to be played while singing'. Two lines of notation set out a single extended phrase using the syllables Jhyām, Dhīn, and Tāng. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/494/2[Container098]/2) N/A
Fourth page of an eight-page notation for 'Khyālī Tāl', numbered '4' at the top, headed '4) 4-beat bols to be played while singing'. Five lettered variants (a to e) are notated on separate staff lines, using the syllables Tāng, Na, Ka, Dhīn, and Tā in short repeating combinations. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/502/2[Container099]/2) N/A
Fifth page of an eight-page notation for 'Khyālī Tāl', numbered '5' at the top, headed '5) 48 and 40-beat bols for bringing the tāl around'. Six lines of notation set out variant (a) of this extended sequence, built from the syllables Tāng, Dhīn, Dhī, Nā, Na, Ka, Pha, Ta, and Phat. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/512/2[Container100]/2) N/A
Sixth page of an eight-page notation for 'Khyālī Tāl', numbered '6' at the top, continuing section 5 with a second lettered variant (b) of the '48 and 40-beat bols for bringing the tāl around', notated across six staff lines using the same core syllable set as the previous page. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/516/2[Container101]/2) N/A
Seventh page of an eight-page notation for 'Khyālī Tāl', numbered '7' at the top, headed '6) 44 and 36-beat bols for ending the tāl'. Six lines of notation set out variant (a) of this closing sequence, with the final two staff lines joined by a curved bracket indicating a held or repeated phrase, built from the syllables Tāng, Dhīn, Dhī, Nā, Na, Ka, Pha, Tā, and Phat. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/524/2[Container102]/2) N/A
Eighth and final page of the notation for 'Khyālī Tāl', numbered '8' at the top, continuing section 6 with a second lettered variant (b) of the '44 and 36-beat bols for ending the tāl', notated across six staff lines using the same syllable set as the previous page and closing with a bracketed repeat mark on the final two lines. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/526/2[Container103]/2) N/A
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First page of a three-page notation headed 'Song and mādal bols for Khyālī dance', combining a melody line in staff notation with sargam solfège syllables and a lower percussion staff giving the accompanying madal bol. The piece opens with two lines labelled 'Madal intro.', where the melody staff is empty and only the drum part plays, using the syllables Phat, Pha, Ta, Na, Ka, Jhyām, Dhīn, Dhī, and Tāng; the song proper then begins, with transliterated Nepali lyric syllables written beneath the sargam notation and the same bol pattern repeating beneath each line of melody. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/558/2[Container106]/2) N/A
Second page of a three-page notation for 'Song and mādal bols for Khyālī dance', numbered '2' at the top, continuing directly from the previous page. It carries on the melody, sargam, and lyric syllables above the percussion staff, with the same recurring bol pattern (Phat, Pha, Ta, Na, Ka, Jhyām, Dhīn, Dhī, Tāng) repeating beneath each phrase of the song. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/562/2[Container107]/2) N/A
Third and final page of the notation for 'Song and mādal bols for Khyālī dance', numbered '3' at the top, concluding the piece with further verses of melody, sargam, and lyric syllables above the same recurring madal bol pattern used throughout the preceding pages. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/566/2[Container108]/2) N/A
Fourth page of an eleven-page notation for 'Song and mādal bols for Khyālī dance', numbered '4' at the top, continuing directly from measure 44 on the previous page. It carries on the melody, sargam, and lyric syllables above a percussion staff, with the bol pattern alternating between a Phat-Pha-Ta-Na-Ka-Jhyām phrase and a Dhīn-Dhī-Na-Na-Ka-Dhī-Nā phrase beneath each line of the song. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/570/2[Container109]/2) N/A
Fifth page of an eleven-page notation for 'Song and mādal bols for Khyālī dance', numbered '5' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, with the bol pattern shifting to a repeating Tāng-Na-Ka phrase beneath each line of the song. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/574/2[Container110]/2) N/A
Sixth page of an eleven-page notation for 'Song and mādal bols for Khyālī dance', numbered '6' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, with the same repeating Tāng-Na-Ka bol pattern carried over from the previous page. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/578/2[Container111]/2) N/A
Seventh page of an eleven-page notation for 'Song and mādal bols for Khyālī dance', numbered '7' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, with the bol pattern shifting partway down the page from Tāng-Na-Ka phrases to a Dhīn-Dhī-Na-Na-Ka-Dhī-Nā pattern for the final two lines. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/582/2[Container112]/2) N/A
Eighth page of an eleven-page notation for 'Song and mādal bols for Khyālī dance', numbered '8' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, with the bol pattern shifting to Dhīn-Trī-Tā-Na-Ka-Dhī-Nā phrases partway down the page. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/586/2[Container113]/2) N/A
Ninth page of an eleven-page notation for 'Song and mādal bols for Khyālī dance', numbered '9' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, using the same repeating Dhīn-Trī-Tā-Na-Ka-Dhī-Nā bol pattern established on the previous page. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/590/2[Container114]/2) N/A
Tenth page of an eleven-page notation for 'Song and mādal bols for Khyālī dance', numbered '10' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, with the bol pattern shifting from Dhīn-Trī-Tā-Na-Ka-Dhī-Nā phrases to a Dhīn-Dhī-Nā-Na-Ka-Dhī-Nā pattern towards the bottom of the page. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/594/2[Container115]/2) N/A
Eleventh and final page of the notation for 'Song and mādal bols for Khyālī dance', numbered '11' at the top. It closes the piece with a section labelled 'Madal outro.', where the melody staff falls silent and the percussion staff plays a closing drum passage alone, using the syllables Tāng, Dhīn, Jhyām, and Phat, ending on a sustained Phat. N/A N/A N/A ch4a.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/598/2[Container116]/2) N/A
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First page of a nine-page notation headed 'Charitra Tal', presented as staff notation with bol syllables written beneath the notes in 6/8 time. It sets out '1) 6-beat bol to begin charitra tāl' across two staff lines, using the syllables Phat, Dhīm, Tāng, and Jhyām. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/20/2[Container121]/2) N/A
Second page of a nine-page notation for 'Charitra Tal', numbered '2' at the top, headed '2) 6-beat bols for playing in songs'. Five lettered variants (a to e) are notated on separate staff lines, using the syllables Phat, Dhīn, Dhī, Nā, Dhīm, and Tāng in different short combinations. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/28/2[Container122]/2) N/A
Third page of a nine-page notation for 'Charitra Tal', numbered '3' at the top, continuing '3) 6-beat bols for playing in songs' with eight further lettered variants (a to h) on separate staff lines, using the syllables Dhīn, Tāng, Phat, Dhīm, Jhyām, Pha, and A. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/34/2[Container123]/2) N/A
Fourth page of a nine-page notation for 'Charitra Tal', numbered '4' at the top, headed '4) 12-beat bol for playing in a song'. Two lettered variants (a, b) are notated on separate staff lines, using the syllables Tāng, Dhīm, Jhyām, Dhī, Nā, Phat, and Dhīn. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/44/2[Container124]/2) N/A
Fifth page of a nine-page notation for 'Charitra Tal', numbered '5' at the top, headed '5) 12-beat bol for playing in a song'. Two further lettered variants (a, b) are notated on separate staff lines, using the syllables Tāng, Phat, Dhum, Dhīn, and Jhyām. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/52/2[Container125]/2) N/A
Sixth page of a nine-page notation for 'Charitra Tal', numbered '6' at the top, headed '6) 6-beat bols for playing in songs'. Four lettered variants (a to d) are notated on separate staff lines, using the syllables Dhum, Dhīm, Tā, Jhyām, Dhī, Nā, Tāng, and Phat. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/60/2[Container126]/2) N/A
Seventh page of a nine-page notation for 'Charitra Tal', numbered '7' at the top, headed '7) Bols for signaling dancers to crouch down, mixed with soraṭhī'. Two lettered variants (a, b) are notated across several staff lines with shifting time signatures, including 2/4, 3/8, and 6/8, using the syllables Dhīn, Tāng, Dhīm, Jhyām, Phat, and Nā. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/66/2[Container127]/2) N/A
Eighth page of a nine-page notation for 'Charitra Tal', numbered '8' at the top, headed '8) Bol for ending the tāl, mixed with soraṭhī'. A single extended closing sequence runs across four staff lines with shifting time signatures, including 2/4 and 3/8, using the syllables Dhīn, Tāng, Dhīm, Jhyām, Phat, Pha, and Ta. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/72/2[Container128]/2) N/A
Ninth and final page of the notation for 'Charitra Tal', numbered '9' at the top, headed '9) 33-beat beginning bol for after dancers crouch down'. Three lines of notation set out this closing sequence using the syllables Tāng, Dhīm, Jhyām, Dhī, Nā, and Phat, with the final bar labelled 'Beginning song bol' in italics beneath a held Tāng. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/80/2[Container129]/2) N/A
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First page of a three-page notation headed 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', combining a melody line in staff notation with sargam solfège syllables and transliterated Nepali lyric syllables above a percussion staff. The piece opens with three lines of drum-only introduction using the bol syllables Tāng, Phat, and Dhīm, before the song begins, with the same recurring bol pattern continuing beneath each line of melody. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/124/2[Container133]/2) N/A
Second page of a three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '2' at the top, continuing directly from the previous page. It carries on the melody, sargam, and lyric syllables above the percussion staff, with the same recurring Tāng-Phat-Dhīm bol pattern repeating beneath each phrase of the song. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/126/2[Container134]/2) N/A
Third and final page of the notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '3' at the top, concluding the piece with further verses of melody, sargam, and lyric syllables above the same recurring bol pattern used throughout the preceding pages, with the drum part briefly expanding to a Jhyām-Dhī-Nā-Phat-Dhīm phrase in the closing lines. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/130/2[Container135]/2) N/A
Fourth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '4' at the top, continuing directly from measure 25 on the previous page. It carries on the melody, sargam, and lyric syllables above a percussion staff, with the same recurring Tāng-Tāng-Dhīm-Jhyām-Dhī-Nā-Phat-Dhīm bol pattern repeating beneath each phrase of the song. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/134/2[Container136]/2) N/A
Fifth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '5' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, using the same recurring bol pattern established on the previous pages. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/138/2[Container137]/2) N/A
Sixth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '6' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, with the bol pattern shifting to a repeating Dhīn-Tāng-Tāng-Phat-Dhī-Nā phrase. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/142/2[Container138]/2) N/A
Seventh page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '7' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, using the same repeating Dhīn-Tāng-Tāng-Phat-Dhī-Nā bol pattern carried over from the previous page. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/146/2[Container139]/2) N/A
Eighth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '8' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff. The lyric cycle completes partway down the page, and the closing bars introduce a brief transitional drum passage using the syllables Phat, Dhī, Nā, Dhīn, and Tāng ahead of a new verse. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/150/2[Container140]/2) N/A
Ninth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '9' at the top. A new verse begins here, with fresh melody, sargam, and lyric syllables ('Hā ā', 'Phula pāti', and so on) introduced above a percussion staff using the recurring bol pattern Tāng-Phat-Dhīn. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/154/2[Container141]/2) N/A
Tenth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '10' at the top, continuing the new verse's melody, sargam, and lyric syllables above a percussion staff, with the bol pattern shifting to Jhyām-Dhī-Nā-Phat-Dhīn phrases partway down the page before a short return to the Tāng-Phat-Dhīn pattern. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/158/2[Container142]/2) N/A
Eleventh page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '11' at the top, continuing the melody, sargam, and lyric syllables of this verse above a percussion staff, using the same Tāng-Phat-Dhīn bol pattern established on the previous pages. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/162/2[Container143]/2) N/A
Twelfth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '12' at the top. The music returns to the earlier verse's melody and lyric syllables ('Ta-mu ra-kṣa', 'ga re', and so on) above a percussion staff using the same Tāng-Phat-Dhīn bol pattern. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/166/2[Container144]/2) N/A
Thirteenth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '13' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, using the same recurring bol pattern carried over from the previous page. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/170/2[Container145]/2) N/A
Fourteenth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '14' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, with the bol pattern shifting to a repeating Tāng-Dhīm phrase. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/174/2[Container146]/2) N/A
Fifteenth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '15' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, with the bol pattern shifting partway down the page to include the syllable Dhum alongside Tāng. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/178/2[Container147]/2) N/A
Sixteenth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '16' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, using the same recurring Tāng-Tāng-Phat-Tāng-Dhum-Dhum bol pattern established on the previous page. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/182/2[Container148]/2) N/A
Seventeenth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '17' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, using the same recurring bol pattern carried over from the previous pages. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/186/2[Container149]/2) N/A
Eighteenth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '18' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, with the bol pattern shifting to a repeating Tāng-Dhīm-Jhyām-Dhīm phrase. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/190/2[Container150]/2) N/A
Nineteenth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '19' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, using the same recurring Tāng-Dhīm-Jhyām-Dhīm bol pattern established on the previous page. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/194/2[Container151]/2) N/A
Twentieth page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '20' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, using the same recurring bol pattern carried over from the previous pages. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/198/2[Container152]/2) N/A
Twenty-first page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '21' at the top, continuing the melody, sargam, and lyric syllables above a percussion staff, using the same recurring bol pattern carried over from the previous page. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/202/2[Container153]/2) N/A
Twenty-second page of a twenty-three-page notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '22' at the top. The sung melody concludes partway down the page, after which the melody staff falls silent and the piece moves into a drum-only outro passage in 7/8 time, using the bol syllables Jhyām, Dhīm, Tāng, Pha, and Ta. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/206/2[Container154]/2) N/A
Twenty-third and final page of the notation for 'Please Protect Us Mother Saraswatī: Song and Bols for Charitra', numbered '23' at the top. The melody staff remains empty throughout, and the percussion staff completes the drum-only outro begun on the previous page, closing the piece on a sustained Phat. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/210/2[Container155]/2) N/A
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Musical example headed 'Taking Charitra Tāl Into Other Tāls', presenting two numbered transitional exercises in single-line percussion (bol) notation. Section 1, 'From charitra into soraṭhī tāl', comprises three lines of notation moving through changing time signatures of 6/8, 2/4 and 7/8, with rhythmic syllables (bols) such as Dhīn, Tāng, Jhyām, Phat, Ta and Ka printed beneath a single rhythm staff using cross-shaped and filled noteheads. Section 2, 'From charitra into khyālī tāl', follows the same layout across three further lines, moving through 6/8, 5/8 and 7/8 time before ending on syllables including Phat, Na, Ka and Tāng. No pitched staff notation is present; only rhythmic notation with bol syllables is shown. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/232/2[Container159]/2) N/A
Continuation (page 2) of the charitra tāl transition exercises, headed '3) From charitra back into charitra tāl'. Two labelled variants, a) and b), are given, each comprising three lines of single-line percussion (bol) notation alternating between 6/8 and 2/4 time signatures. Rhythmic syllables printed beneath the staff include Dhīn, Tāng, Phat and Jhyām, using the same cross-shaped and filled notehead system as the preceding example. No pitched melodic notation appears on this page. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/234/2[Container160]/2) N/A
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Musical example headed 'Soraṭhī Tāl', with the subheading 'Soraṭhī Lāmī Tāl'. A single line of percussion (bol) notation is shown in 7/8 time, using cross-shaped and filled noteheads on a one-line rhythm staff. The rhythmic syllables printed beneath read Jhyām, Dhīm, Jhyām, Dhīm, Tāng, Pha, Ta, Phat, Phat, Tāng, Phat, Dhīm, Tāng and Dhīm. The lower two-thirds of the page is blank. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/264/2[Container163]/2) N/A
Musical example (page 2) headed 'Soraṭhī Chhoṭī Tāl'. A single line of percussion (bol) notation is shown in 4/4 time on a one-line rhythm staff, using a mixture of plain cross, filled and hollow circled-cross noteheads. The rhythmic syllables printed beneath, several marked with sustain dashes, read Phat, Tāng, Dhīn, Dhīn, Tāng and Phat. The lower two-thirds of the page is blank. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/278/2[Container164]/2) N/A
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Musical example (page 3) headed '1) 14-beat bol in soraṭhī lāmī tāl', presenting two labelled variants, a) and b). Each variant comprises two lines of single-line percussion (bol) notation in 7/8 time, using cross-shaped and filled noteheads with occasional slurred pairs. Rhythmic syllables printed beneath include Jhyām, Dhīm, Tāng, Pha, Ta, Phat, Dhīn, Tā and Nā, with a slur linking the final Tā–Nā syllables in variant b). N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/296/2[Container166]/2) N/A
Musical example (page 4) headed '2) 28-beat lāmī tāl beginning bol', presenting two labelled variants, a) and b). Each variant comprises four lines of single-line percussion (bol) notation continuing the 7/8 metre established on the previous page, using cross-shaped and filled noteheads with slurred syllable pairs such as Pha-Ta and Dī-Nā. Rhythmic syllables printed beneath include Jhyām, Dhīm, Tāng, Phat, Dhīn and Nā, repeated across the eight lines with minor variation between the two variants. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/300/2[Container167]/2) N/A
Musical example (page 5) headed '3) Mixed bol for transitioning between lāmī tāl and chhoṭī tāl', presenting two labelled variants, a) and b). Each variant comprises two lines of single-line percussion (bol) notation, the first line unmarked (following the preceding 7/8 metre) and the second in 4/4 time. Rhythmic syllables printed beneath include Jhyām, Dhīm, Jhām, Tāng, Dhīn and Phat, using cross-shaped and filled noteheads with occasional slurred pairs. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/306/2[Container168]/2) N/A
Musical example (page 6) headed '4) 8 and 4-beat ordinary chhoṭī tāl bols', presenting two labelled variants, a) and b), each a single line of percussion (bol) notation with no time signature marked. Rhythmic syllables printed beneath, several with sustain dashes, read Phat, Tāng, Dhīn and Phat, using cross-shaped and filled noteheads with slurred pairs. The lower two-thirds of the page is blank. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/316/2[Container169]/2) N/A
Musical example (page 7) headed '5) 24-beat chhoṭī tāl beginning bols', presenting two labelled variants, a) and b). Each variant comprises three lines of single-line percussion (bol) notation with no time signature marked, using cross-shaped and filled noteheads. Rhythmic syllables printed beneath include Phat, Tāng, Dhīn, and a slurred Dhī-Nā pairing, repeated with minor variation across the six lines. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/324/2[Container170]/2) N/A
Musical example (page 8) headed '6) Final cadential bol, mixed with lāmī tāl'. Eight lines of single-line percussion (bol) notation are shown, the first two lines in 7/8 time with syllables Dhīn, Tāng, Phat and Dhīm, followed by two lines using sustained open noteheads on the syllable Jhyām held across multiple beats. Four further lines repeat syllables including Dhīn, Tāng, Phat, Jhyām, Dhīm, Pha and Ta, and the example closes with a single isolated Phat syllable followed by a final barline on an otherwise empty line. N/A N/A N/A ch4b.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/328/2[Container171]/2) N/A
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First page of a multi-page musical score headed 'Soraṭhī Lāmī tāl / Chhoṭī tāl Song', subtitled 'Lāmī tāl Song' with a metronome marking of dotted-quaver equals 65. The opening two systems consist of a single percussion (bol) rhythm line only, in 7/8 time. From system 3 onward, a treble-clef vocal staff is added above the rhythm line, showing a melody in sargam (Indian solfège: S R G P D N) with syllabic Nepali lyric text printed beneath the melody, beginning 'Hā' and continuing 'Ma-nai bhayo virakta ho'. Bar numbers 1, 3, 5, 7 and 9 are marked at the start of each system. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/42/2[Container173]/2) N/A
Page 2 of the multi-page musical score (bars 11 to 19), continuing the two-stave format: a treble-clef vocal melody in sargam notation with Nepali lyric syllables printed beneath, above a single-line percussion (bol) rhythm part in 7/8 time. Four systems are shown, with the sung text continuing the song beginning 'Sā he ho' through to 'Sya bas! Hā hā' and 'Ma-nai bha-yo vi-rakta ho'. Bar numbers 11, 13, 15 and 17 are marked at the start of each system. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/46/2[Container174]/2) N/A
Page 3 of the multi-page musical score (bars 19 to 26), continuing the two-stave format of vocal melody in sargam notation with Nepali lyric syllables above a percussion (bol) rhythm line in 7/8 time. Four systems are shown; the second system includes a bracketed triplet marking. The sung text continues with syllables including 'Ma-nai bya-yo vi-rakta he' and 'Ti-nai kāla biti sakyo'. Bar numbers 19, 21, 23 and 25 are marked at the start of each system. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/50/2[Container175]/2) N/A
Page 4 of the multi-page musical score (bars 27 to 34), continuing the two-stave format of vocal melody in sargam notation with Nepali lyric syllables above a percussion (bol) rhythm line in 7/8 time. Four systems are shown, with sung text continuing through phrases including 'Go-dai ā ja', 'Khāli bhayo' and 'Kaise rāja chalāũ'. Bar numbers 27, 29, 31 and 33 are marked at the start of each system. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/54/2[Container176]/2) N/A
Page 5 of the multi-page musical score (bars 35 to 42), continuing the two-stave format of vocal melody in sargam notation with Nepali lyric syllables above a percussion (bol) rhythm line in 7/8 time. Four systems are shown, with sung text continuing through phrases including 'Kaise rāja chalāũ', 'Sya-bas! Hā hā' and 'Ma-nai bhayo vi-rakta ha'. Bar numbers 35, 37, 39 and 41 are marked at the start of each system. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/58/2[Container177]/2) N/A
Page 6 of the multi-page musical score (bars 43 to 50), continuing the two-stave format of vocal melody in sargam notation with Nepali lyric syllables above a percussion (bol) rhythm line in 7/8 time. The first system includes a bracketed triplet marking. Sung text continues through phrases including 'E-kai na hĩ', 'du-bai nā-hĩ' and 'Chau-dhai rā-ni khāli bhayo'. Bar numbers 43, 45, 47 and 49 are marked at the start of each system. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/62/2[Container178]/2) N/A
Page 7 of the multi-page musical score (bars 51 to 58), continuing the two-stave format of vocal melody in sargam notation with Nepali lyric syllables above a percussion (bol) rhythm line in 7/8 time. Sung text continues through phrases including 'Chau-dhai rāni khāli bhayo', 'Hā he ho' and 'Sya-bas! Hā hā'. Bar numbers 51, 53, 55 and 57 are marked at the start of each system. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/66/2[Container179]/2) N/A
Page 8 of the multi-page musical score. The first two systems (bars 59 to 62) complete the Soraṭhī Lāmī tāl / Chhoṭī tāl Song in the established two-stave format, with sung text concluding 'Ma-nai bhayo vi-rakta ha'. A new section then begins, headed 'Chhoṭī tāl Song', with a new time signature of 4/4 and a faster metronome marking of quaver equals 195; the vocal staff shows rests through bars 63 to 66 while the percussion (bol) rhythm line continues beneath with syllables Dhīm, Tāng and Phat. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/70/2[Container180]/2) N/A
Page 9 of the multi-page musical score (bars 67 to 74), in the newly established 4/4 'Chhoṭī tāl Song' section. Four systems show a treble-clef vocal melody in sargam notation with Nepali lyric syllables printed beneath, above a percussion (bol) rhythm line reading Dhīm, Tāng, Phat throughout. Sung text includes phrases such as 'Hā hā', 'Ma-nai bujhāi', 'ba-si-de-u' and 'Pu-na sa-ko jālā-kāṭi'. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/74/2[Container181]/2) N/A
Final page (page 10) of the multi-page musical score (bars 75 to the end), continuing the 4/4 'Chhoṭī tāl Song' two-stave format of vocal melody in sargam notation with Nepali lyric syllables above a percussion (bol) rhythm line reading Dhīm, Tāng, Phat throughout. Sung text concludes with phrases including 'ka-s-le bāhira lāñcha', 'Pu-na sa-ko jhāla-kāṭī' and 'Dhu-ru-mā dhu-ru', ending on a final barline in all four systems. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/78/2[Container182]/2) N/A
Page 11 of a notated musical score, continuing a transcribed song from bar 83 to bar 89 across four two-bar systems. Each system pairs an upper vocal stave, showing noteheads with sargam solfège syllables (Sa, Re, Ga, Ma, Pa, Dha, Ni) and italicised Romanised Nepali lyrics printed beneath, with a lower single-line percussion stave notating the accompanying tabla bol pattern using cross noteheads for closed strokes and filled noteheads for open strokes, with the corresponding syllables (such as Dhīm, Tāng and Phat) written below. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/82/2[Container183]/2) N/A
Page 12 of the same notated score, continuing the transcription from bar 91 to bar 97 in the same two-stave format: an upper vocal stave with sargam syllables and italicised Nepali lyrics, and a lower single-line tabla stave with bol syllables (Dhīm, Tāng, Phat and related variants) written beneath the notated strokes, across four two-bar systems. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/86/2[Container184]/2) N/A
Page 13 of the notated score, continuing the transcription from bar 99 to bar 105 in the same format as the preceding pages, with an upper vocal stave carrying sargam syllables and italicised lyric text and a lower single-line tabla stave notating the corresponding bol syllables beneath the strokes. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/90/2[Container185]/2) N/A
Page 14, the final page of this notated excerpt, running from bar 107 to bar 117. The vocal melody and lyrics conclude partway down the page; the remaining systems present tabla notation only, including a passage of sustained rolls marked 'Jhyām', a brief change to 7/8 time, and a closing tremolo roll held under a fermata-style tie at the very end. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/94/2[Container186]/2) N/A
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A diagram titled 'Garrā Bãdhne Tāl', presenting five short rhythmic patterns notated on a single percussion line, using cross noteheads for closed tabla strokes and filled noteheads for open strokes. Each two-bar pattern is labelled underneath with its bol syllables (for example Phat, Tāng, Dhīm, or Jhyām, Dhīm, Nā), illustrating variant six-beat and twenty-four-beat forms of the cycle without any accompanying melody. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/140/2[Container193]/2) N/A
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The first page of a notated piece titled 'Garrā Bãdhne Song: Mādale Ho Sakhe', marked at a tempo of 170. It opens with a two-bar tabla-only introduction in 6/8 time, followed by three further two-bar systems combining an upper vocal stave, with sargam syllables and italicised Nepali lyrics beginning 'Hō, Mādale hō sakhe', and a lower single-line tabla stave notated with the corresponding bol syllables beneath. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/186/2[Container195]/2) N/A
Page 2 of the same notated song, running from bar 9 to bar 16 in the same two-stave format, with the upper vocal stave carrying sargam syllables and italicised lyric text and the lower single-line tabla stave notating the corresponding bol pattern beneath the strokes. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/188/2[Container196]/2) N/A
Page 3 of the notated song, running from bar 17 to bar 24 and ending at a 'Fine' marking. The format continues as on the preceding pages, with an upper vocal stave carrying sargam syllables and lyrics and a lower tabla stave beneath; the final system presents tabla notation only, following the close of the vocal line. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/192/2[Container197]/2) N/A
Page 4 of the notated song, running from bar 25 to bar 31, introducing an additional verse of Nepali lyrics beginning 'Hā-ā, Sarasvatī...' set to the same melodic and rhythmic format as the preceding pages, with sargam syllables on the upper stave and tabla bol syllables on the lower stave. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/196/2[Container198]/2) N/A
Page 5, the final page of this notated song, running from bar 33 to bar 37 and ending with a 'D.C. al Fine' marking. The format continues as on the preceding pages, concluding the vocal and tabla lines together. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/200/2[Container199]/2) N/A
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The first page of a diagram titled 'Ṭhakan hānne bols', presenting three eight-beat rhythmic patterns (labelled a, b and c) notated on a single percussion line using cross and filled noteheads, each with its bol syllables written beneath (for example Thām, Thām, Thām, Thām, or Thām, Na-Ka, Thām, Thām), without accompanying melody. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/234/2[Container202]/2) N/A
Page 2 of the same diagram, headed 'Ending bols mixed with khyālī', presenting two further multi-bar rhythmic patterns (labelled a and b) notated on a single percussion line, each with bol syllables written beneath (including Dhīn, Dhī-nā, Na-ka, Tāng and Phaṭa), concluding each pattern with a sustained tremolo roll. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/236/2[Container203]/2) N/A
Page 3 of the same diagram, headed 'Example full iteration of a ṭhakan hānne tāl', showing six systems of continuous percussion notation on a single line, without accompanying melody, tracing bol syllables (Thām, Na-Ka, Dhīm, Tāng, Dhī-nā and related variants) through a full cycle, ending on a sustained tremolo roll. N/A N/A N/A ch4c.xhtml#epubcfi(/4[Stirr-0246]/2[Container207]/244/2[Container204]/2) N/A
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A colour photograph of eight men standing in a line in a courtyard in front of a traditional two-storey stone-and-timber house with a rusted corrugated-iron roof, in a rural Nepali village setting surrounded by trees. All wear white kurta-suruwal with black waistcoats and patterned pink Dhaka topi caps. Along the line, men play wind instruments with flared bells, barrel-shaped hand drums, a larger frame drum, and a pair of cymbals; two men at the right raise long curved natural horns decorated with coloured ribbon streamers. In the foreground on the grass, two tripods hold a portable audio recorder and a pair of headphones, indicating the performance is being field-recorded. [Editor: specific instrument names (e.g. sahanai, damaha, jhyāli, narsingha) are not confirmed from the image alone — please verify against the source caption.] N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/48/2[Container209]/2) N/A
A faded archival colour photograph of an older man wearing glasses, a white bobble hat and a grey jumper, seated cross-legged on a bed, playing a transverse bansuri flute with both hands. Around him are several traditional stringed and percussion instruments: a long-necked fretted instrument with a round resonator leaning against the wall, a tabla drum beside it, and a harmonium in the foreground. The room has worn, painted walls, with papers, cassette tapes and photographs stacked nearby, suggesting an informal domestic practice or recording setting. [Editor: the exact identity of the long-necked stringed instrument (e.g. sitar or tanpura) is not confirmed from the image alone — please verify against the source caption.] N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/88/2[Container210]/2) N/A
A simple black-and-white diagram illustrating a numbered sequence of scale-degree symbols. A vertical rectangular box lists six rows numbered 1 to 6; rows 1 to 5 each contain a stylised zero-with-slash symbol (Ø), and row 6 contains a plain 'O'. Arrows lead from each row to a solfège letter outside the box: P and D (row 1), M (row 2), G (row 3, underlined), R (row 4), S (row 5), and N (row 6, underlined). Below the box, a seventh, unboxed line reads '7' with an arrow pointing to 'D'. [Editor: the specific musicological convention being illustrated is not identified within the figure itself — please verify against the surrounding chapter text or caption.] N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/94/2[Container211]/2) N/A
A hierarchical tree diagram titled 'Nepali Tunes', drawn with navy-blue and pale-grey stacked-card style boxes. The top-level box, 'Nepali Tunes', branches into four categories: Classical (Shastriya) Tunes, Folk Tunes, Modern (Adhunik) Folk Tunes, and Modern (Adhunik) Tunes. Folk Tunes branches further into Unmetered (Anibaddha) Tunes and Metered (Talbaddha) Tunes. Unmetered (Anibaddha) Tunes divides into Ripple (Taranga) Tunes and Wave (Lahari) Tunes; Metered (Talbaddha) Tunes divides into Auspicious (Mangal) Tunes, Patriotic (Rastriya) Tunes, Song (Giti) Tunes, Seasonal (Samayik) Tunes, and Instrumental (Swaralankrit) Tunes. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/154/2[Container212]/2) N/A
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A two-column diagram illustrating a rising and falling one-octave musical scale using the full Hindustani sargam names. Eight scale-degree names are arranged in a diagonal staircase pattern down the left column, reading from the bottom (lowest pitch) to the top (highest pitch): Ṣaḍja, Ṛṣabh, Gāndhāra, Madhyam, Pañcham, Dhaivat, Niṣād and Ṣaḍja; the word 'Ascending' is captioned beneath this column. The same eight names are mirrored in a diagonal staircase down the right column, reading from top (highest) to bottom (lowest), captioned 'Descending' beneath. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/310/2[Container229]/2) N/A
A two-column diagram illustrating the same rising and falling one-octave scale as the preceding figure, using single-letter abbreviations of the sargam names. Eight letters are arranged in a diagonal staircase down the left column, reading bottom to top: S, R, G, M, P, D, N and S, captioned 'Ascending' beneath; the same letters are mirrored in a diagonal staircase down the right column, reading top to bottom, captioned 'Descending' beneath. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/316/2[Container230]/2) N/A
A two-column diagram illustrating the same rising and falling one-octave scale using Western tonic sol-fa syllables. Eight syllables are arranged in a diagonal staircase down the left column, reading bottom to top: Do, Re, Mi, Fa, So, La, Ti and Do, captioned 'Ascending' beneath; the same syllables are mirrored in a diagonal staircase down the right column, reading top to bottom, captioned 'Descending' beneath. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/322/2[Container231]/2) N/A
A two-column diagram illustrating the same rising and falling one-octave scale using Western letter note names. Eight letters are arranged in a diagonal staircase down the left column, reading bottom to top: C, D, E, F, G, A, B and C, captioned 'Ascending' beneath; the same letters are mirrored in a diagonal staircase down the right column, reading top to bottom, captioned 'Descending' beneath. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/328/2[Container232]/2) N/A
A two-column diagram in the same layout as the preceding four figures, using a further set of vocalised syllables in place of the note names, printed top to bottom as Cha, Sa, Ya, Pa, Ka, Ta, Ṭa and Cha. The syllables are arranged in a diagonal staircase down the left column, captioned 'Ascending' beneath, and mirrored in a diagonal staircase down the right column, captioned 'Descending' beneath. The specific naming system this syllable set belongs to could not be confirmed with certainty; please verify the tradition and diacritics against the source caption. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/334/2[Container233]/2) N/A
A two-column diagram in the same diagonal staircase format as the preceding series, using the single syllable 'La' for every scale degree rather than a distinct note name in each position. Eight 'La' labels form a staircase down the left column, captioned 'Ascending' beneath; the same labels are mirrored in a staircase down the right column, captioned 'Descending' beneath. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/340/2[Container234]/2) N/A
A two-column diagram that is visually near-identical to the preceding figure (fig-5-10), again using the syllable 'La' for every degree in the same diagonal staircase, Ascending/Descending layout. Please confirm with the editor whether this is intentionally a repeated figure or whether a different source image was intended for this position. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/346/2[Container235]/2) N/A
A tall figure comprising two stacked grid systems, each made up of unlabelled horizontal staff-style lines divided into beat columns. Within each grid, the syllable 'La' is plotted at varying heights and horizontal positions to trace rising and falling melodic contours; several cells contain two or more closely spaced 'La' markings, indicating groups of rapid notes. The lower grid is taller than the upper one and includes a denser cluster of stepped 'La' markings near its base. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/352/2[Container236]/2) N/A
A horizontal grid of unlabelled staff lines divided by a central vertical bar into two halves of eight beat columns each. In the left half, a stemmed dot labelled 'La' descends stepwise from the top line to a low position by the eighth column; in the right half, a matching series of stemmed 'La' dots ascends stepwise from a low position back up to the top line, together forming a symmetrical descending-then-ascending, valley-shaped melodic contour. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/360/2[Container237]/2) N/A
A horizontal grid of unlabelled staff lines divided by a central vertical bar into two halves of eight beat columns each, with the word 'La' printed above every stem. In the left half, the stemmed dots begin at a low position in the first column and rise stepwise to the highest position by the eighth column; the right half mirrors this pattern, beginning high and descending stepwise, together forming a symmetrical rising-then-falling, arch-shaped melodic contour. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/362/2[Container238]/2) N/A
A grid of unlabelled staff lines divided by a vertical bar. To the left of the bar, the word 'La' is printed at each line without a note stem, forming a plain diagonal list of labels; to the right of the bar, matching 'La' labels each carry a stemmed dot that ascends diagonally from a low position near the bar to the top line at the right-hand edge, tracing a single rising melodic run. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/364/2[Container239]/2) N/A
A grid of unlabelled staff lines divided by a vertical bar. To the left of the bar, 'La' labels each carry a stemmed dot that descends diagonally from the top line down to a low position near the bar, tracing a single falling melodic run; to the right of the bar, matching 'La' labels are printed without stems, forming a plain diagonal list. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/368/2[Container240]/2) N/A
A scanned photocopy of a handwritten manuscript page in Devanagari script, showing four short hand-drawn melodic contour diagrams stacked vertically. Each diagram comprises a row of dots connected by a sloping line to indicate rising or falling pitch, with the syllable 'la' written beneath each dot in Roman transliteration and a Devanagari caption above. A handwritten signature appears at the bottom right. The Devanagari captions have not been transcribed or translated here; please verify the exact wording against the source text. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/370/2[Container241]/2) N/A
A tall reference diagram comprising two stacked vertical panels of the kind used for hole-flute tuning or fingering charts. Within each panel, short black horizontal bars resembling piano keys appear at several points down the panel, each connected by a horizontal line to a text label at the right; the labels read, from top to bottom, 'Open-hole Tuning', '1-hole Tuning', '2-hole Tuning', '3-hole Tuning', '4-hole Tuning', '5-hole Tuning' and '6-hole Tuning', with a black bar present for some positions and absent for others. The lower panel repeats the same pattern of black bars without additional text labels; please confirm the intended reading of open versus covered positions against the source caption. N/A N/A N/A ch5a.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/376/2[Container242]/2) N/A
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A numbered fingering-to-note-name chart. Six numbered rows (1 to 6) are listed at the left, each connected by a short line to an empty circle-with-slash symbol (Ø) inside a bordered rectangle, and then by an arrow to a corresponding sargam note letter: row 1 to 'D' (followed by a further underlined 'N' and 'N'), row 2 to 'P', row 3 to 'M', row 4 to 'G', row 5 to 'R', and row 6 to 'S'. Below the rectangle, a seventh, unnumbered arrow points to 'N'. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/16/2[Container244]/2) N/A
A tāl (rhythmic cycle) grid transcription of a folk song, using the syllable 'la' to represent the melody across five multi-bar systems separated by blank rows, each divided into beat columns by vertical bar lines and closed with double bar lines. Beneath each system, italicised Romanised Nepali lyrics are aligned syllable by syllable with the notation, including the words 'Rām', 'Sā', 'i', 'lā', 'bā', 'ṭo', 'mā', 'thi', 'mu', 'ni', 'jhap', 'ke', 'ti', 'te', 'pā' and 'Sāi', with the verses repeating and varying slightly across systems. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/94/2[Container245]/2) N/A
A tāl (rhythmic cycle) grid transcription of the same folk song shown in the preceding figure, using Hindustani sargam letters (S, R, G, M, P, D and N, with N underlined in places to denote a variant pitch) in place of the ‘la’ syllable to represent the melody. The grid is arranged across six multi-bar systems, each divided into beat columns by vertical bar lines and closed with double bar lines, with italicised Romanised Nepali lyrics — including ‘Rām’, ‘Sā’, ‘i’, ‘lā’, ‘bā’, ‘to’, ‘mā’, ‘thi’, ‘mu’, ‘ni’, ‘jhapa’, ‘ke’, ‘ti’, ‘te’, ‘pā’ and ‘Sāi’ — aligned beneath the corresponding notes. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/100/2[Container246]/2) N/A
A page of Western five-line staff notation in treble clef and 4/4 time, titled 'Khyali Bhaka Song / Rām Sāilā'. The melody is notated conventionally with noteheads, stems and a repeat sign, and is annotated above the stave with Hindustani sargam letters (S, G, M, P, R, N and D, with N underlined to denote a variant pitch) and below the stave with italicised Romanised Nepali lyrics, including 'Rām', 'Sāī', 'lā', 'Bā', 'ṭo', 'mā', 'thi', 'mu', 'ni', 'jha-pa', 'ke', 'ti', 'te', 'pā' and 'Sāi', spanning twenty-one numbered bars across five systems. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/104/2[Container247]/2) N/A
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A tāl (rhythmic cycle) grid transcription titled 'Nepali Folk Song Tune', subtitled 'Jhyāure tāl 6 beats; 6-hole tuning' with 'Nepali Notation' at the upper right, from page 38 of the source. The melody is represented using the syllable 'la' plotted at various heights across an unlabelled staff grid, arranged in four multi-bar systems separated by blank rows and divided into beat columns by vertical bar lines. Beneath each system, italicised Romanised Nepali lyrics are aligned with the notation, including the phrases 'Khān na ma ta', 'kā lai ko pā nī', 'mū la ko pā nī' and 'di ne ki na di'. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/172/2[Container249]/2) N/A
A brief continuation fragment from page 39 of the source, showing the final single-bar line of the grid notation begun in the preceding figure: an unlabelled staff grid with the syllable 'la' held across two beat columns, and the italicised lyric syllable 'ne' aligned beneath it, completing the final word of the song. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/174/2[Container250]/2) N/A
A page of graphic melodic notation, numbered 40 at the foot of the page and divided into four grid-like systems. Each system consists of around seven to eight closely spaced horizontal ruled lines, subdivided into columns by vertical bar lines; within these grids the syllable 'la' is placed at varying heights across the columns to trace a melodic contour, with dashes marking sustained pitches. Romanised Nepali lyric syllables are aligned beneath each system, matching the text set in the corresponding staff notation elsewhere in the chapter: 'kai-lo mai-lo lu-ga dh(u)-ne' in the first system, 'dho-bī lā-ī di ũ la' in the second, 'an-ju lī-le u-wa e-ra' in the third, and 'mūl-kai pā-nī piu-lā' in the fourth. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/176/2[Container251]/2) N/A
A page of Western staff notation for the 'Jhyaure Song', titled 'I Won't Drink Machine-Pumped Water', captioned '6-hole or 5-hole, 3-hole or 2-hole tunings'. The piece is set in 6/8 time on a single treble-clef staff with no key signature, arranged across several systems and divided by repeat barlines into two strains, each opening with a pickup rest marked 'r'. Sargam solfège syllables (S, R, G, M, P, D, N) are printed above the staff, with romanised Nepali lyrics aligned syllable by syllable beneath, the first strain beginning 'Khā-nna-ma-ta ka-lai-ko pā-nī' and the second 'Kai-lo mai-lo lu-gā dhu-na'. Slurred phrase markings and tied notes appear throughout, and sustained syllables are shown with extended underscore lines. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/182/2[Container252]/2) N/A
A schematic flute fingering (tuning) chart. A vertical rectangular box lists finger holes numbered 1 to 6 from top to bottom, each marked either with a crossed circle (Ø, indicating a closed hole) or a plain circle (O, indicating an open hole): holes 1 to 5 are shown closed and hole 6 open. An arrow beside each hole points to the corresponding sargam solfège syllable it produces: hole 1 to P (with D marked alongside), hole 2 to M, hole 3 to G, hole 4 to R, hole 5 to S, and hole 6 to N. Below the box, a seventh line, representing all holes open, points to the note D. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/192/2[Container253]/2) N/A
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A page of Western staff notation for the 'Jhyāure Bhāka Song', titled 'Life is Fading', captioned 'Five-hole tuning'. The piece is set in 6/8 time on a single treble-clef staff with a one-flat key signature, arranged across several systems and divided by repeat barlines into two strains, each opening with a pickup rest marked 'r'. Sargam solfège syllables are printed above the staff, with romanised Nepali lyrics aligned beneath, the first strain beginning 'Ji-n da gī o-i lā yo Bi-ju-lā di-na kā-ṭaũ' and the second 'Ghu-mā-i ma ghu-mā-i cha-ka ṭī bu-na ne'. Ornamental beamed note groups, slurs and tied notes appear throughout, with sustained syllables shown by extended underscore lines. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/294/2[Container256]/2) N/A
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The first of two pages of Western staff notation for the 'Khyali Bhaka Song', titled 'Jalesi Pān Pāte', captioned 'Five-hole tuning'. The piece is set in 4/4 time on a single treble-clef staff with no key signature (flat accidentals appear inline), arranged across seven systems numbered by bar (bars 1 to 29) and divided by repeat barlines into two strains, each opening with a pickup rest marked 'r'. Sargam solfège syllables are printed above the staff, with romanised Nepali lyrics aligned beneath, the first strain beginning 'Ja-le-si pā-na pā-te jha-ma-ke bu-lā-kī' and the second 'Hi-mai ra chu-lī tyai pa-llo pā-ṭṭi'. Held whole notes, slurs and extended underscore lines marking sustained syllables appear throughout; the piece continues on the following page. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/366/2[Container258]/2) N/A
The second page of Western staff notation continuing the 'Jalesi Pān Pāte' piece from the previous figure, numbered '2' in the top left corner and carrying no title. It continues from bar 31 through bar 49, restating the same two strains and lyrics as the opening page ('Ja-le-si pā-na pā-te...' and 'lā-ũ chhau ki su-nai ko') before closing with a final repeat barline. Sargam solfège syllables appear above the staff and romanised Nepali lyrics beneath, in the same layout as the preceding page. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/368/2[Container259]/2) N/A
A schematic flute fingering (tuning) chart for a five-hole tuning. A vertical rectangular box lists finger holes numbered 1 to 6, each marked with a crossed circle (Ø, closed) for holes 1 to 4 and a plain circle (O, open) for holes 5 and 6. An arrow beside each hole points to the sargam solfège syllable it produces: hole 1 to M (with a dotted upper-octave Ṁ and P also indicated), hole 2 to G, hole 3 to R, hole 4 to S, hole 5 to N̲, and hole 6 to D̲. Below the box, a seventh line, representing all holes open, points to the note P. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/380/2[Container260]/2) N/A
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The first of two pages of Western staff notation for the 'Khyāli Bhākā Song', titled 'He Bir / Hey Brave One', captioned 'Four-hole tuning'. The piece is set in 4/4 time on a single treble-clef staff with no key signature but frequent inline flat accidentals, arranged across seven systems (bars 1 to 32). The first sixteen bars carry sargam syllables only, with no underlaid lyric text, indicating a purely instrumental opening; romanised Nepali lyrics begin at bar 19 with 'He-bi-ra hĩ-ḍa a-ghi sa-rī, Na-ha-ṭā-i pā-u ra-ti-bha-ri' and continue with 'Yo mā-tri-bhu-mi Ne-pā-la-ko, Bha-ī-bi-ra pa-ra-kra-mi'. The piece continues on the following page. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/476/2[Container262]/2) N/A
The second page of Western staff notation continuing the 'He Bir / Hey Brave One' piece from the previous figure, numbered '2' in the top left corner and carrying no title. It continues from bar 33 through bar 52, opening with the lyric phrase 'san-ta-ti, He-bi-ra,' before returning to an extended instrumental passage of sargam syllables with no underlaid lyrics, mirroring the instrumental writing on the opening page, and closing with a final (non-repeated) barline. Sargam solfège syllables appear above the staff throughout, in the same layout as the preceding page. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/480/2[Container263]/2) N/A
A page of Western staff notation for the 'Charitra Bhākā Song', titled 'Older Brother, Don't Go Abroad', captioned 'One-hole tuning'. The piece is set in 6/8 time on a single treble-clef staff with a one-flat key signature, arranged across seven systems (bars 1 to 28) and divided by repeat barlines into four short strains, each opening with a pickup rest marked 'r'. Sargam solfège syllables are printed above the staff, with romanised Nepali lyrics aligned beneath, the recurring refrain beginning 'Na-jā-u Dā-jyu bi-de-śa' ('Older brother, don't go abroad') and continuing through phrases including 'Ti-mī-le chha-ḍī bi-de-śa' and 'Ā-khā-mā ãsu li-e-ra'. Slurred phrase markings and extended underscore lines marking sustained syllables appear throughout. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/528/2[Container264]/2) N/A
A schematic flute fingering (tuning) chart for a three-hole tuning. A vertical rectangular box lists finger holes numbered 1 to 6, each marked with a crossed circle (Ø, closed) for holes 1 to 3 and a plain circle (O, open) for holes 4 to 6. An arrow beside each hole points to the sargam solfège syllable it produces: hole 1 to G, M and upper-octave Ṁ, hole 2 to R, hole 3 to S, hole 4 to N, hole 5 to D, and hole 6 to P. Below the box, a seventh line, representing all holes open, points to the note M. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/540/2[Container265]/2) N/A
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The first of two pages of Western staff notation for the 'Khyālī Bhākā Song', titled 'Almost Gone', captioned 'Three-hole tuning'. The piece is set in 4/4 time on a single treble-clef staff with no key signature but inline flat accidentals, arranged across seven systems (bars 1 to 26) and divided by a repeat barline at bar 13 into two strains. Sargam solfège syllables are printed above the staff, with romanised Nepali lyrics aligned beneath, the first strain beginning 'Jā-nai lā-gyo jā-nai lā-gyo ka-thai du-i din-ko' and the second 'Le-khai-ra jā-ũ-lā ni-gā-lī lyā-ũ-lā, Bun-nũ-lā sā-raṅ'. Held notes, slurs and extended underscore lines marking sustained syllables appear throughout; the piece continues on the following page. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/666/2[Container268]/2) N/A
The second page of Western staff notation continuing the 'Almost Gone' piece from the previous figure, numbered '2' in the top left corner and carrying no title. It continues from bar 27 through bar 36, restating the first strain's melody and lyrics ('ga ka-ṭhai, Du-i di-na-ko lāu-re jo-va-na jā-nai lā-gyo') before closing with a final repeat barline. Sargam solfège syllables appear above the staff and romanised Nepali lyrics beneath, in the same layout as the preceding page. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/668/2[Container269]/2) N/A
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The first of two pages of Western staff notation for an 'Auspicious Folk Song (Mangal Dhun)', titled 'Reverence'. No tuning is captioned on this page. The piece is set in 6/8 time on a single treble-clef staff with no key signature, opening with a short indented pickup phrase ('Ha-a') before six full systems follow (bars 2 to 11), divided by repeat barlines into short recurring phrases. Sargam solfège syllables are printed above the staff, with romanised Nepali lyrics aligned beneath, praising deities and beginning 'Bha-ja-ma-na Nā-ra-ya-na, Ra-ghu-vi-ra Go-vi-nda-ma' and continuing 'Cha-ra a-cha-ra ja-la-tha-la, sar-va-ma-thi vyā-ya-ka-ma'. The piece continues on the following page. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/768/2[Container271]/2) N/A
The second page of Western staff notation continuing the 'Reverence' piece from the previous figure, numbered '2' in the top left corner and carrying no title. It continues from bar 12 through bar 24, repeating the opening refrain before introducing new devotional verses praising Vishnu's avatars, including 'Pra-tha-ma a-va-tā-ra pra-bhu ma-tsya ru-pa dhā-ra-ṇa-ma' and 'Śaṅ-kha cha-kra ga-dā pa-dma, śaṅ-kha su-ra chhe-da-na-ma', before closing with the refrain repeated once more. Sargam solfège syllables appear above the staff and romanised Nepali lyrics beneath, in the same layout as the preceding page. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/772/2[Container272]/2) N/A
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The first of three pages of Western staff notation for 'Sorathi Lami Tal', a dance piece with no tuning captioned. The piece is set in an unusual 7/8 time signature on a single treble-clef staff with no key signature, opening with an indented pickup phrase on the vocable 'Hā' before five systems follow (bars 2 to 11). Sargam solfège syllables, several joined by slurred beam groupings, are printed above the staff, with romanised Nepali lyrics aligned beneath, mixing vocables with text, beginning 'Hā hā hā, Ma-nai bha-yo vi-ra-kta ho' and continuing 'hā hey ho, Kai-se rā-ja cha-lā-ũ'. The piece continues on the following pages. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/852/2[Container275]/2) N/A
The second page of Western staff notation continuing the 'Sorathi Lami Tal' piece from the previous figure, numbered '2' in the top left corner and carrying no title. It continues from bar 12 through bar 24, including two beamed note groups marked with a small '3' indicating triplet rhythms, with romanised lyrics continuing 'Ma-nai bha-yo... hā, Ti-nai kā-la bi-ti sa-kyo hā' and 'hā hā hā, Go-dai ā-ja khā-li bha-yo'. Sargam solfège syllables appear above the staff throughout, in the same layout as the preceding page; the piece continues on the following page. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/856/2[Container276]/2) N/A
The third and final page of Western staff notation continuing the 'Sorathi Lami Tal' piece from the previous two figures, numbered '3' in the top right corner and carrying no title. It continues from bar 26 through bar 36, concluding the piece with lyrics including 'khā-lī bha-yo hā ā he ho' and the closing exclamation 'Syā-bas! Hā hā hā, Ma-nai bha-yo vi-ra-kta', ending on a final (non-repeated) barline. Sargam solfège syllables appear above the staff and romanised Nepali lyrics beneath, in the same layout as the preceding pages. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/860/2[Container277]/2) N/A
Page 1 of a two-page musical score titled ‘Sorathi Chhoti Tal / Console Yourself’, marked for three-hole tuning and set in 4/4 time. Six systems of Western five-line staff notation run down the page, each system paired with a line of sargam solfège syllables (S, R, G, M, P, D, N) above a line of romanised Nepali lyrics; several syllables carry diacritical marks (an underline, a dot above, or a dot below) denoting octave register, and elongated syllables are indicated with underscores. Bar lines and a closing double bar divide the piece, which continues onto a second page. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/866/2[Container278]/2) N/A
Page 2 (numbered ‘2’) of the same score as fig-5-31a, continuing ‘Sorathi Chhoti Tal / Console Yourself’ from measure 13 to its close at measure 25. Six further systems of staff notation appear, each again paired with a line of sargam solfège syllables and a line of romanised Nepali lyrics beneath, with the same underline and dot diacritics used to mark octave register. The piece ends with a final double bar line and repeat dots. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/870/2[Container279]/2) N/A
A vertical fingering-position chart for a wind instrument with six primary finger holes. Down the left-hand side, holes are numbered 1 to 6, each connected by a short line to a symbol inside a bordered rectangle showing whether that hole is closed (a circle crossed by a diagonal slash) or open (a plain circle): holes 1 and 2 are shown closed, holes 3 to 6 open. An arrow beside each row points to the sargam solfège syllable(s) that hole combination produces, several marked with an underline, a dot above, or a dot below to indicate octave register. Below the box, a seventh row labelled ‘7’ gives the note sounded when all holes are open. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/884/2[Container280]/2) N/A
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A single-page musical score titled ‘Khyālī Bhākā Song / The Queen Bird Flies’, marked for two-hole tuning and set in 4/4 time, opening and closing with repeat signs. Six systems of staff notation run down the page, each paired with a line of sargam solfège syllables above a line of romanised Nepali lyrics; elongated syllables are shown with underscores and phrase breaks with hyphens. The piece concludes with a final double bar line. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/966/2[Container282]/2) N/A
A vertical fingering-position chart in the same style as fig-5-32, again numbering finger holes 1 to 6 down the left-hand side with open (plain circle) and closed (slashed circle) symbols inside a bordered rectangle; here only hole 1 is shown closed, with holes 2 to 6 open. Arrows point to the corresponding sargam syllables for each row, several bearing underline or dot diacritics that denote octave register. A seventh row below the box gives the note produced when all holes are open. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/978/2[Container283]/2) N/A
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A two-page musical score titled ‘Khyālī Bhākā Song / Sprout, Maili’, marked for one-hole tuning and set in 4/4 time, containing multiple internal repeat sections divided by repeat barlines. Numerous systems of staff notation run down both pages, each paired with a line of sargam solfège syllables above a line of romanised Nepali lyrics; syllables carrying an underline or dot diacritic indicate octave register, and elongated syllables are marked with underscores. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/1050/2[Container285]/2) N/A
A third vertical fingering-position chart matching the style of fig-5-32 and fig-5-34, numbering finger holes 1 to 6 with open and closed circle symbols inside a bordered rectangle: hole 1 is shown open, holes 2 and 3 closed, and holes 4 to 6 open. Each row is linked by an arrow to its corresponding sargam syllable(s), several bearing underline or dot diacritics denoting octave register, with a seventh row below the box giving the note sounded when all holes are open. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/1064/2[Container286]/2) N/A
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Page 1 of a two-page musical score titled ‘Jhyaure Song / Pani Paryo’, marked for an open-hole tune and set in 6/8 time, opening with a repeat sign. Multiple systems of staff notation run down the page, each paired with a line of sargam solfège syllables above a line of romanised Nepali lyrics, with elongated syllables shown as underscores. The score continues onto a second page. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/1138/2[Container288]/2) N/A
Page 2 (numbered ‘2’) of the same score as fig-5-37a, continuing ‘Jhyaure Song / Pani Paryo’ from measure 14 to its close. Two further systems of staff notation appear, each paired with a line of sargam solfège syllables above a line of romanised Nepali lyrics, ending with a final double bar line. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/1142/2[Container289]/2) N/A
A single-page musical score titled ‘Jhyaure Song / What Good Is It To Go Away?’, marked for open-hole tuning and set in 6/8 time. Multiple systems of staff notation run down the page, each paired with a line of sargam solfège syllables above a line of romanised Nepali lyrics with syllable-by-syllable underlay and phrase-ending hyphens, concluding with a final double bar line. N/A N/A N/A ch5b.xhtml#epubcfi(/4[Stirr-0246]/2[Container291]/1202/2[Container290]/2) N/A
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Back cover: Music and Dances from Central Nepal, Volume 1 by Anna Marie Stirr, Mason Brown, Hikmat Khadka and Lochan Rijal. N/A N/A N/A back-cover.xhtml#epubcfi(/4/2/2) N/A

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