Tumeh Dil Lagi Bhool Jani Paregee - Chemistry as a...

103

Transcript of Tumeh Dil Lagi Bhool Jani Paregee - Chemistry as a...

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Tumeh Dil Lagi Bhool Jani Paregeeby Nusrat Fateh Ali Khan

Transcribed and Analyzed by Conal Boyce

ii

Acknowledgements

Many thanks to Javaid Masoud of Shoreview, Minnesota, for transliterating the text of “Dil Lagi Bhool Jani Paregee.” Without the transliterated syllables to use as scaffolding, I could never have attempted the music transcription that appears on pages 1-47 below. (For details of the translation and interpretation of the text, see page 49, page 63, and Appendix L.)

Eileen Goren edited an early version of the Commentary and Analysis. Ultimately, her main contribution was to persuade me (indirectly) to abandon much of the original. Where sentences survive from the earlier (5/99) version, I’ve taken her valuable advice for improving them.

CB, 01/22/01

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iii

Tumeh Dil Lagi Bhool Jani Paregee ...............................................................1 Source: Track 4 [10:02] on Music Club CD #50019,

the Rapture album by Nusrat Fateh Ali Khan,Copyright 1997 by Music Collection International Ltd, used by permission of Oriental Star Agencies Ltd.548 Moseley Road, Birmingham, B12 9AD, U.K. (Title: In the CD album notes, the title of the song is given as “Tumhen...” not “Tumeh...”)

Commentary and Analysis ............................................................................49

Appendix L: The Lyrics ..............................................................................L-1 Translation from Urdu to English Glossary of Urdu words found in the song

Appendix U: Ruminations on the Invisibility of Urdu............................... U-1

Appendix X: Endnotes ............................................................................... X-1

iv

Melodyand Words

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Note: In the second staff, we show only the rhythms of the left tabla, modulated sometimes to indicatelow pitch (stem down) vs. medium pitch (stem up); meanwhile, whenever the left tabla (baya) isactive, the right tabla (daya) provides a continuous eighth-note pulse on tonic e -- implied but generally not written out in this transcription.

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(Harmonium*)

* Starting at m. 26, doubling at the lower octave is generally implied,but from here on that level of detail is usually not shown any morein the Harmonium line.

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�� �

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-14-

�ºO� � � ,��

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-15-

�ºO� �� �

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ay la - ga

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-16-

Ka - bhi dil ki - si sa - ay la - ga - (a) kar tow

de - kho

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K� � K�Ka - bhi dil

,� � �,�

K� K� �ki - si

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¤ K�sa -

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kho

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K� K� �pa - re -

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Harmoniumºgee� � � �

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-17-

Chorus + Soloist

�� � � �� �� �

ChorusK� � K�Tu-meh dil

,� � �,�

K� K� � �la - gi

� �� �

� �

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� ¤ SoloK� �(eh) - Dil

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K� K� � �la - gi

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¤ � K�bhoo - l

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,� � �,�

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K� � K�Tu-meh dil

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K� K� � �la - gi

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,� � �,�

� � Chorus + Soloist

�Dil

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K� K� � �la - gi

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¤ � K�bhoo - l

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� K� K�ja - ni pa -

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-18-

� � � � �re - gee

� �� �

K� � K�Tu-meh dil

,� � �,�

K� K� � �la - gi

� � ��!

� �

,� � �,�

� � Chorus

�Dil

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K� K� � �la - gi

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¤ � K�bhoo - l

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� � � � �re - gee

� �� �

Solo (first tenor)

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Ah

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�Chorus

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K� K� � �la - gi

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-19-

Passionately, with 'bent' notes and interpolated microtones, similar to cante flamenco.

� ¤ � K�bhoo - l

� �� �

� K� K�ja - ni pa -

� ¤� ,�

� � � �re - gee

� �� �(2nd tenor)

Solo

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� ¤� ,�

� º

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º

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K� ¤ �

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1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-20-

� � �Chorus

�Dil

� � ��

K� K� � �la - gi

,� � �,�

¤ � K�bhoo - l

� � �� �

� K� K�ja - ni pa -

� ¤� ,�

� � � � �re - gee

� �� �

¤Solo K� �Hon-ton

,� � �,�

K� ��kae pas

� � �� �

� K� K�aa - e

� ¤� ,�

� K� ��han - si

� � �� �

¤ � K�kyia ma -

� ¤� ,�

K� K� �ja - l hae

� � �� �

� K� K�Dil ka

� ¤� ,�

� K� K� K� K�ma-m(a) - la

� � �� �

K� � ,�ha koi

� ¤� ,�

�� ,�dil la -

� � �� �

�� ,�gi na -

,� � �,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-21-

� Harmonium�Chorus

�hi Dil

¤� � �

� � ��K� K� � �

la - gi

,� � �,�

¤ � K�bhoo - l

� � �� �

� K� K�ja - ni pa -

� ¤� ,�

� � � � �re - gee

� � �� �

K� � K�Tu-meh dil

,� � �,�

K� K� � �la - gi

� � �� �

� �

,� � �,�

� � �Dil

� � �� �

K� K� � �la - gi

� ¤� ,�

¤ � K�bhoo - l

� � �� �

� K� ,�ja - ni pa -

� ¤� ,�

� �Solo

¤ AhK�re - gee

� � � �� � �� �

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,� � �,�

º

� �� �

º

� ¤� ,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-22-

� 3� � � � �

� �� �

3� � � �

� ¤� ,�

� � �

� �� �

¤ � � � �

� ¤� ,�

� � � � �

� �� �

K� � � � �

,� � �,�

� �Chorus

�Dil

� � �� �

K� K� � �la - gi

,� � �,�

� ¤ � K�bhoo - l

� � �� �

� K� K�ja - ni pa -

� ¤� ,�

� � � �re - gee

� �� �

K� � K�Tu-meh dil

� ¤� ,�

� K� K� � �la - gi

� �� �

� �

� ¤� ,�

� �Dil

� �� �

K� K� � �la - gi

� ¤� ,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-23-

� ¤ � K�bhoo - l

� �� �

� K� K�ja - ni pa -

,� � �,�

� � � �re - gee

� � �� �

SoloK� � K�Zak-ham pa

,� � �,�

� K� � ¤zak-ham

� � �� �

�� K�kha kay

,� � �,�

K� � ¤ji

� � �� �

K� � K�Zak-ham pa

� ¤� ,�

� ¤Harmonium

� � �zak-ham,� � ¤� �� �

,� ¤ �kha

�� K�kay

,� � �,�

K� � ¤ji

� � �� �

K� K� K� K�A - p(u)-nay la -

� ¤� ,�

� K� � K�hoo kay

� �� �

�� K�ghoon - t(e)

� ¤� ,�

K� � ¤pi

� �� �

K� K� K� K�A - p(u)-nay la -

� ¤� ,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-24-

� K� � K�hoo kay

� �� �

�� K�ghoon - t(e)

,� � �,�

K� � ¤pi

� � �� �

� K� K�Aa - h(a) na

� ¤� ,�

� � �kar

� � �� �

K� � K�la - bon ko

,� � �,�

� K� K�si ish - q(i)

� � �� �

K� � K�ha dil

,� � �,�

� K� K� �la - gi

� � �� �

�� K�na -

� ¤� ,�

� Chorus

�hi Dil

� � �� �

K� K� � �la - gi

,� � �,�

� ¤ � K�bhoo - l

� �� �

� K� K�ja - ni pa -

� ¤� ,�

� � � �re - gee

� � �� �

¤Solo

� K�Dil la -

,� � ¤

,� � �,�

Tu - meh

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-25-

� K� � K�ga kak pa -

� � �� �

K� K� �ta cha - le

� ¤� ,�

K� K� K� ¤ga tu-mehn

� � �� �

¤ � ,�a - sh -

,� � �,�

� � �qi dil

� � �� �,� � ,�la - gi na -

,� � �,�

ºhi

� � �� �

�� ,�ho - ti

,� � �,�

�,� ¤ Chorus

�Dil

� � �� �

K� K� � �la - gi

,� � �,�

¤ � K�bhoo - l

� �� �

� K� K�ja - ni pa -

� ¤� ,�

� � � � �re - gee

� � �� �

SoloK� K� �Ku-chh(e)khel

� ¤� ,�

� � � �na - hi

� � �� �

K� � K�ha ish - q(e)

� ¤� ,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-26-

�� �ki lag

� � �� �

º

� ¤� ,�

z

� � �� �

K� K� �Ku-chh(e)khel

� ¤� ,�

� � � � �na - hi

� � �� �

K� � K�ha ish - q(e)

� ¤� ,�� �ki lag

� � �� �

º

� ¤� ,�

� � �pa -

� � �� �

� K� K�ni na sa -

� ¤� ,�

K� K� �ma-jh(i) yeh

� � �� �

� K� K�aa - g(e) ha(y)

,� � �,�

� ºaag

� � �� �

º

,� � �,�

� Chorus

�Dil

� � �� �

K� K� � �la - gi

,� � �,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-27-

� ¤ � K�bhoo - l

� � �� �

� K� K�ja - ni pa -

� ¤� ,�

� � � �re - gee

� � �� �

K� � K�Tu-meh dil

,� � �,�

� K� ,� � �la - gi

� � �� �

¤ SoloK�3� � �

Ah

� �

,� � �,�

º

� � �� �

º

,� � �,�

� � � � �

� � �� �

� ��

¤Harmonium,�

� �

� ¤� ,�

� ¤ K�Ah

� � ,�� � �� �

� � � �

� ¤� ,�

� º

� � �� �

� �� ¤� ,�

� �� � �� �

�� K�

� ¤� ,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-28-

��� K�

� � �� �

3

� � � 3

� � �

,� � �,�

3

� � ¤ Chorus

�Dil

� � �� �

K� K� � �la - gi

,� � �,�

� ¤ � K�bhoo - l

� � �� �

� K� K�ja - ni pa -

� ¤� ,�

� � � �re - gee

� � �� �

¤ Solo

� K�Khoon ru -

� ¤� ,�

� � � �la - ae

� �� �

K� � K�gi yeh la -

� ¤� ,�� � �gi dil

� �� �

Harmonium

� �ki

� �� ¤� ,�

�� � �� �� �

¤ � K�Khoon ru -

� ¤� ,�

� � �la - ae

� �� �

K� � K�gi yeh la -

� ¤� ,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-29-

�� � �gi dil

� �� �

� �ki

� ¤� ,�

� �khail sam -

� �� �

� K� K�jho na dil

� ¤� ,�

� K� K� �la - gi

�� �,�

�� K�dil ki

,� � �,�

K� ¤Chorus

�Dil

� � �� �

K� K� � �la - gi

,� � �,�

� ¤ � K�bhoo - l

� � �� �

� K� ,�ja - ni pa -

� ¤� ,�

� Solo

�re - gee

� � � �� � �� �

Yeh � K� K�ish - q(i) na -

� ¤� ,�

�� � �hi (n)a -

� �� �

� �san,

� Harmonium

� �

,� � �,�

� ,� ,�bu-s(a)

� � � �� � �� �

K� K� K� K�i - t(e) - na sa -

� ¤� ,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-30-

� K� K� �ma-jh(e) lee -

� � �� �

� �jay

¤ �Harmonium

K»� � � � �

,� � �,�

� �Yeh

� � � � �� � �� �

� K� K�ish - q(i) na -

� ¤� ,�

�� � �hi (n)a -

� � �� �

��

san,¤

Harmonium� � � � �

,� � �,�

� K� K�bu - s(a)

� �� ¤� ,�

K� K� K� K�i - t(e) - na sa -

� ¤� ,�

� K� K� �ma-jh(e) lee -

� �� �

� �jay�

Harmonium

3

� � �� ¤� ,�

� K� K�Yeh-(keh)

� �� �� �

� K� K�aa - g(e) ka

,� � �,�

� K� K� �dar -r(e) - ya

� � �� �

� K� K�ha - (ya)-(ru)

,� � �,�

� K� K�doob ka da -

� �� �

� �(ja) - na

,� � �,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-31-

� � Chorus

�ha Dil

� � ��!

K� K� � �la - gi

,� � �,�

¤ � K�bhoo - l

� �� �

� K� K�ja - ni pa -

� ¤� ,�

� � � � �re - gee

� �� �

SoloK� � K�Tu-meh dil

� ¤� ,�

K� K� � �la - gi

� �� �

� �

� ��

� Chorus + Soloist

ºbhoo -

� �� �

K� K� �l ja -

,� � �,�

K� K� �ni pa - re -

� �� �

ºgee

� ¤� ,�

� � �

� �� �

K� � K�Mo-h(a) - bat

� ¤� ,�

¤ K� �ki ra -

� �� �

� �hon

� ¤� ,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-32-

�� �

mae

� �� �� K� K�

aa kar

� ¤� ,�

K� K� �tow de -

� �� �� �

kho

� ¤� ,�

�� �

� �� �

K� � K�Mo-h(a) - bat

� ¤� ,�

¤ K� �ki ra -

� �� �

� 3

� � �hon

� ¤� ,�

�� �

mae

� �� �� K� K�

aa kar

� ¤� ,�

K� K� �tow de -

� �� �� �

kho

Harmonium

� 3� � �

� ¤� ,�

�� �

3� � � �� �� �

SoloK� K� K� K�T(a)-rap - (a) - nae

� ¤� ,�

K� K� �pa me -

� �� �

� �re

� ¤� ,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-33-

� K� ��na

� �� �

¤ K� K� K�phi - r(i) tum

� ¤� ,�

K� K� � ��han - so

� �� �º

gae

� ¤� ,�

�ºO� �� �

ChorusK� K� K� K�T(a)-rap - (a) - nae

�� �,�

K� K� �pa me -

� �� �

� �re

,� � �,�

� K� ��na

� ��

¤ K� K� K�phi - r(i) tum

,� � �,�

K� K� � ��han - so

�� � ¤º

gae

,� � �,�

�ºO�� � ¤

SoloK� � K�Ka - bhi dil

,� � �,�

K� K� �ki - si

� � ,��u

¤�

¤ K�sa -

z

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-34-

� K� K� �ay la - ga -

z�

K� K�(a) karK� � K�

K� K� �tow de -K� ,� ��

� �kho

,� � �,�

�� �

� �� �

ChorusK� K� K� K�T(a)-rap - (a) - nae

� ¤� ,�

K� K� �pa me -

� �� �

� �re

,� � �,�

� K� ��na

� �� �

¤ K� K� K�phi - r(i) tum

� ¤� ,�

K� K� � ��han - so

� �� �º

gae

� ¤� ,�

�ºO� �� �

K� � K�Ka - bhi dil

,� � �,�

K� K� �ki - si

� ���

¤ K�sa -

�� �,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-35-

� K� K� �ay la - ga -

,� � �,�

�K� K�

(a) kar

,� � �,�

K� K� �tow de -

� � ��!

Harmonium

� �kho

� � � �

,� � �,�

�� �� � �� �� �

SoloK� � K�Wa - fa - on

� ¤� ,�

K� K� �ki ha -

� �� �

� �m say

� ¤� ,�

� º

� �� �

K� � K�ta - wa - qo

� ¤� ,�

K� K� �na - hi

� �� �

ºha

,� � �,�

� º

� �� �

ChorusK� � K�Wa - fa - on

� ¤� ,�

K� K� �ki ha -

� �� �

� �m say

� ¤� ,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-36-

� º

� �� �

K� � K�ta - wa - qo

� ¤� ,�

K� K� �na - hi

� �� �

ºha

� ¤� ,�

� º

� �� �

Chorus + SoloistK� � K�Wa - fa - on

� ¤� ,�

K� K� �ki ha -

� �� �

� SoloAh�� �

m say

� ¤� ,�

� � �3� � �º

� �� �

º

,� � �,�

� � � �� �� �

� � � � � �

,� � �,�

� � � � �� �

� � �� �

� � � � �

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� � �

� �� �

¤ � � �� ¤� ,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-37-

�� � �� �� �� �

3

� � � �

� ¤� ,�

�� ¤

� �� �

¤ K�3

� � �

,� � �,�

�3� � � �

� � �� �� ¤ K�

,� � �,�

� � �

� � �� �

� �

� ¤� ,�

���N ¤

� � �� �

ChorusK� � K�Wa - fa - on

� ¤� ,�

K� K� �ki ha -

� � ��

� �m say

,� � �,�

� º

� �� �

K� � K�ta - wa - qo

� ¤� ,�

� ¤ � K»�,� ,� �

na - hi

� � �� �

K»� K»� K»� K»� K»� K»� K»� K»�� �ha

� ¤� ,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-38-

Start long solo on various scat syllables such as di, ba, da, ni, babadi, sabada, etc.

� K»� K»� K»� K»� K»� K»� K»� K»�

� � �� �

K»� K»� K»� K»� K»� K»� K»� K»�

� ¤� ,�

K»� K»� K»� K»� K»� K»� K»� K»�

� � �� �

K»� K»� K»� K»� K»� K»� K»� K»�

� ¤� ,�

� K»� K»� K»� K»� K»� K»� K»� K»�

� � �� �,°� ,°�

K»� K»� K»� K»� K»� K»�

� ¤� ,�

K»� K»� K»� K»� K»� K»� K»� K»�� � �� �

K»� K»� K»� K»� K»� K»� K»� K»�� ¤� ,�

� K»� K»� K»� K»� K»� K»� K»� K»�� � �� �

K»� K»� K»� K»� K»� K»� K»� K»�� ¤� ,�

K»� K»� K»� K»� �

� � �� �

z

� ¤� ,�

� K»� K»� K»� K»�¤ K�

� � �� �

¤ K� ¤ K�� ��

¤ K� ¤ K�� � � � �� ��

¤ K� ¤ K�� ¤� ,°�

K»�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-39-

� K»� K»� K»� K»�¤ K�� � � � �

,� ¤ ��¤ K� ¤ K�� ¤� ,°�

K»�

¤ K� ¤ K�

,� ¤ ��¤ K� ¤ K�� ¤� ,°�

K»�

� K»� K»� K»� K»�¤ K�

,� ¤ ��¤ K� ¤ K�� ¤� ,°�

K»�

¤ K� ¤ K�

,°� � � � ��� �

¤ K� ¤ K�� ¤� ,°�

K»�

� K»� K»� K»� K»�¤ K�

,� ¤ ¤� ,�

¤ K� ¤ K�

,� � �,�

¤ K� ¤ K�� � � � �

,� � �,�

¤ K� ¤ K�

,� � �,°�K»�

� K»� K»� K»� K»�¤ K�

,°� � � � ��� �

¤ K� ¤ K�¤ K� ¤� K�

¤ K� ¤ K�¤ ,� ¤� ,�

¤ K� ¤ K�¤ ,� ��

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-40-

In this section, the right tabla temporarily abandons the steady1/8-note pulse in favor of a 1/4-note pulse, first syncopated (m. 626-660)then on the beat (m. 661-681), represented in m. 675-681 as E with stems down on the vocal staff.

� K»� K»� K»� K»� ¤�K�

� � � � � � �,°�

K� ,�

¤ K� ¤ K�¤ ,� ¤� ,�

¤ K� ¤ K�¤ ,� ¤� ,�

¤ K� ¤ K�¤ ,� ¤ ,�

� K»� K»� K»� K»� ¤K�

,°�

K� ,� ¤� ,�

¤ K� ¤ K�¤ ,� ¤� ,�

¤ K� ¤ K�¤ ,� ¤� ,�

¤ K� �

¤ ,� ��

� K»� K»� K»� K»� ¤K�

,°�

K� ,� ¤� ,�

¤ K� ¤ K�

¤ ,� ¤� ,�

¤ K� ¤ K�

¤ ,� ¤� ,�

¤ K� �

¤ ,� ��

� K»� K»� K»� K»� ¤K�

,°�

K� ,� ¤� ,�

¤ K� ¤ K�

¤ ,� ¤� ,�

¤ K� ¤ K�

¤ ,� ¤� ,�

¤ K� �

¤ ,� ��

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-41-

� K»� K»� K»� K»� ¤K�

,°�

K� ,� ¤� ,�

¤ K� ¤ K�

¤ ,� ¤� ,�

¤ K� ¤ K�

¤ ,� ¤� ,�

¤ K� �

¤ ,� ��

� K»� K»� K»� K»�K»� K»� K»� K»�

,°�

K� ,� �� �

K»� K»� K»� K»� K»� K»� K»� K»�

� ¤� ,�

K»� K»� K»� K»� K»� K»� K»� K»�

� �� �

K»� K»� K»� K»� �

� ¤� ,�

� � K»� K»� K�� �� �

K»� K»� K� K»� K»� K�

,� � �,�

K»� K»� K»� K»� �!� �� �

�! �!

,� � �,�

� �! K»� K»� K�� �� � � �

K»� K»� K� K»� K»� K�

� � � � �� � � �

K»� K»� K»� K»� �!� � � � ��

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1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-42-

� �! K»� K»� K�� �� � � �

K»� K»� K� K»� K»� K�

� � � � �� � � �Tabla

K»� K»� K»� K»� �!

� �� � � � ��

�!

�!

� �� ��

� K»� K»� K»� K»� �!

� �� ��

�!

�!

� �� ��

K»� K»� K»� K»� �!

� �� ��

K»� K»� K»� K»� �!

� �� ��

� K»� K»� K»� K»� �!

� �� ��

(Solo)K� � K�Wa - fa - onK� � � K�

K� K�Chorus + Soloist

�ki ha -

� ��� �m say

,� � �,�

� º

� �� �

K� � K�ta - wa - qo

,� � �,�

K� K� �na - hi

� �� �

ºha

,� � �,�

1XVUDW )DWHK $OL .KDQ� �7XPHK 'LO /DJL����

-43-

� º

� �� �

K� � K�Wa - fa - on

� ¤� ,�

K� ,� �ki ha -

� �� �

� �m say

� ¤� ,�

� º

� �� �

K� � K�ta - wa - qo

� ¤� ,�

K� K� �na - hi

� �� �

ºha

,� � �,�

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(subito piano, and start the fade-out)

(steady fade to niente, no change in tempo)

48

This page is blank

49

An der Kreuzung zweierHerzwege steht kein Tempel für Apoll

(At the crossing of two heart-ways,there stands no temple to Apollo.)

- from the Sonnets to Orpheus, IIIby Rainer Maria Rilke

Commentary and Analysis

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Commentary and Analysis50

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The Ensemble

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Commentary on "Tumeh Dil Lagi..."

51

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Commentary and Analysis52

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The Rhythm

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TABLE 1. No Ears

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Commentary on "Tumeh Dil Lagi..."

53

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TABLE 2. Square Ears

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1H[W�ZH�FRQVLGHU�WKH�+LS�(DUV�SHUFHSWLRQ�RI�WKH�VDPH�SDWWHUQ�TABLE 3. Hip Ears

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Commentary and Analysis54

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Commentary on "Tumeh Dil Lagi..."

55

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TABLE 5. Neutral Ears

+DQG�FODSSLQJ�LV�UHSUHVHQWHG�E\�WKH�VKDGHG�ER[HV�LQ�WKH�=HUR�FROXPQ�LQ�7DEOH ����,QWHUUXSWLRQV��,Q�DQ�DFWXDO�VRQJ��WKH�KDQG�FODSSLQJ�DQG�GUXPPLQJ�DUH�ERWK�VXVSHQGHG�VRPHWLPHV��WR�VHW�XS�D�GUDPDWLF�UHHQWU\�D�IHZ�EDUV�ODWHU��7KLV�VRPHZKDW�MD]]\�DVSHFW�RI�KRZ�WKH�UK\WKP�VHFWLRQ�ZRUNV��PLJKW�KDYH�EHHQ�DGGHG�WR�WKH�WDEOH�DERYH��EXW�WR�DYRLG�FOXWWHULQJ�WKH�VFKHPD�ZLWK�FRQIXVLQJ�GHWDLO�,·YH�

Time marches on,

objectively«-1 0 +1

�� '�� 8�� '�� 8�� 8�� '�� 8�� '�� 8�� '�� 8�� '�� 8�� 8�� '�� 8�� '�� 8�� 8�� '�� 8�� ' et cetera

«meanwhile, Musical

Space (subjective) is Left-Right shiftable

Commentary and Analysis56

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Commentary on "Tumeh Dil Lagi..."

57

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Commentary and Analysis58

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Commentary on "Tumeh Dil Lagi..."

59

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Commentary and Analysis60

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Commentary on "Tumeh Dil Lagi..."

61

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The Melody

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Commentary and Analysis62

PDOH�FKRUXV�LQ�P� �����LV�E��D�VXLWDEO\�´LQFRQFOXVLYHµ�SLWFK�IRU�WKH�IDGH�RXW�VW\OH�HQGLQJ�

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Commentary on "Tumeh Dil Lagi..."

63

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The Lyrics

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Commentary and Analysis64

ERWKHUHG�PH��%XW�WKLV�LV�D�SLYRWDO�OLQH�DQG�PXVW�EH�GHDOW�ZLWK��LW·V�WKH�YHU\�OLQH�WR�ZKLFK�1XVUDW�DWWDFKHV�KLV�LQFUHGLEOH���SDJH�FDGHQ]D��DOUHDG\�GLVFXVVHG�RQ�SDJH ����,Q�RQH�ZD\�RI�UHDGLQJ�WKHP��O\ULFV�2�3�FDQ�EH�WDNHQ�WR�PHDQ�´'RQ·W�H[SHFW�DQ\�OR\DOW\��EXW�WU\�PH�DQ\ZD\µ�³�D�UDWKHU�MDUULQJ�VHQWLPHQW�LQ�D�ORYH�VRQJ��7KH�,/6�LQWHUSUHWDWLRQ�WULHV�WR�VPRRWK�WKLV�RYHU�E\�VD\LQJ��´>,�XQGHUVWDQG�WKDW�\RX·UH�FRQFHUQHG�DERXW@�ZKHWKHU�,·OO�EH�IDLWKIXO�>EXW�\RX·UH�PLVWDNHQ@��7U\�PH�RQFH�µ�(YHQ�ZLWK�WKDW�VXJDUFRDWLQJ��RU�´SRHWLF�UHDGLQJµ�LI�\RX�OLNH���WKH�SDVVDJH�VWLOO�ERWKHUV�PH��ZK\�LV�WKLV�VXEMHFW�HYHQ�UDLVHG�LQ�D�ORYH�VRQJ"

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In Wahrheit singen, ist ein andrer Hauch.Ein Hauch um nichts.Ein Wehn im Gott.Ein Wind.

In the highest form of singing, the Reality Song, it’s another kind of breath we useA wafting into nowhere.A sigh of God.A wind.

L-1

$SSHQGL[�/

Appendix L: The Lyrics

L-2

Lyrics in Urdu and English

A. TUMEH DIL LAGI BHOOL JANI PAREGEEAll this flirtation you must forget.

B. MOH[A]BAT KI RAHON MAE AA KAR TOW DEKHOWhy don’t you try love and experience that instead?

C. T[A]RAP[A]NAE PA MERE NA, PHIR[I] TUM HANSO GAEThen you won’t laugh at my suffering.

D. KABHI DIL KISI SAY LAGA KAR TOW DEKHOFall in love with someone, and you’ll know.

E. HONTON KAE PAS AAE HANSI KYIA MAJAL HAE(In my state) laughter doesn’t dare come to one’s lips.

F. DIL KA MAM[A]LA HA KOI DIL LAGI NAHIIt’s a matter of heart, not mere flirtation.

G. ZAKHAM PA ZAKHAM KHA KAY JI(This is what it’s like:) you live with your wounds of love,

H. AP[U]NAY LAHOO KAY GHOONT[E] PIYou “drink your own blood” (suffer),

I. AAH[A] NA KAR, LABON KO SI, ISHQ[I] HA DIL LAGI NAHIThe other one won’t care about your sighs, so you keep your mouth shut;yes, love is the thing, not flirtation.

J. DIL LAGA KAK PATA CHALE GA TUMEHN ASHQI DIL LAGI NAHI HOTIYou’ll know when it happens to you; love is not the same as flirtation.

K. KUCHH[E] KHEL NAHI HA ISHQ[E] KI LAG, PANI NA SAMAJH[I] YEH AAG[E] HA[Y] AAG

The path of love is not a game, it’s fire instead of water.L. KHOON RULA-AE GI YEH LAGI DIL KI, KHAIL SAMJHO NA DIL LAGI DIL KI

In love, you’ll weep tears of blood; it’s not to be taken as simple play.M. YEH ISHQ[I] NAHI [N]ASAN, BUS[A] IT[E]NA SAMAJH[E] LEE-JAY

Keep in mind, being in love is not so easy,N. YEH[KE] AAG[E] KA DAR[E]YA HA[YA-RU], DOOB KA DA[JA]NA HA

It’s a river of fire, (where the flames might engulf you).O. WAFAON KI HAM SAY TAWAQO NAHI HA,

I understand that you do not believe I’ll be faithful (but this is not true),P. MAGAR[A] EK[U] BAR AAZMA KAR TOW DEKHO.

Try me once (and you will know my love is genuine).Q. ZAMANAY KO AP[U]NA B[A]NAKAR TOW DEKHA,

You’ve tried others in the world (unhappily, I would have to assume),R. HAMEN BHITUM AP[U]NA B[A]NAKAR TOW DEKHO.

Try me once (and you’ll know true love this time).

Nusrat Fateh Ali Khan: “Tumeh Dil Lagi...”

L-3

On page L-2, I’ve arbitrarily labeled the lyrics A through R for easy reference.

Extra syllables: As happens in any language, the singer feels the need to interpolate extra sounds or whole syllables from time to time, to marry the prosodic flow to that of the music. These extra sounds I represent by small letters in square brackets (parens in the music transcription). The adjustments are especially notice-able in lyric M, where asan sounds like ‘nasan’ and bus sounds like ‘basa’, also in lyric N, where ha is extended to something that sounds like ‘ha-ya-ru’. The extra syllable eh before Dil occurs in only one instance of the ubiquitous phrase “Dil lagi bhool jani paregee” (see row 5 in the concordance below), so it is not represented in this appendix; however, I did devote a paragraph to eh, back on page 61.

Lyric N: Both translators seem to have skipped over ‘doob ka dana ha’ in lyric N, but that phrase probably just means something like ‘wrapping you in flames,’ which is already suggested by the first half of the line (the part that was explicitly translated).

Rough Concordance of Lyrics to Music

Lyric Measure numbers/comments--- 001-061 Instrumental prelude (harmonium, tabla, clapping).

--- 062-079 Antiphonal introduction by Nusrat Fateh Ali Khan and a second soloist, both singing sol-fa syllables.

A,B 080-209 The lyrics begin here, about 1 minute into the music.

C,D 210-265

A 266-325 In this section, the refrain is established as: ‘Dil lagi bhool jani paregee’; i.e., essentially lyric A, but with Tumeh excluded.

E,F 326-336

A 337-371

G,H,I,A 372-399

J,K,A 400-437

L,A 438-474

M,N 475-496

A,B 497-525

C,D 526-565

O 566-697 Lyric ‘O’ is expanded by two lengthy scat syllable interpolations.

P 698-713

Q,R 714-753

Appendix L: The Lyrics

L-4

Detailed Concordance (same as previous table, but showing the next level of detail)

Legend: ‘A’ in the Lyric column is an instance of lyric A sung by the soloist, Nusrat Fateh Ali Khan himself; ‘a’ is the chorus echoing lyric A. ‘B’ is an instance of lyric B sung by the soloist; ‘b’ is the chorus echoing lyric B. And so forth. In other words, the texture is generally antiphonal. However, a line is sometimes introduced by the soloist and chorus together (notably at m. 96). In other cases, the soloist might sing along unobtrusively with a choral refrain. I’ve used a “+” sign to indicate all such cases where the soloist and chorus are heard singing together rather than in a purely antiphonal (call and response) fashion. “Z” is a catch-all symbol that stands for sol-fa syllables, or a florid passage on ‘ah’ reminiscent of the cante flamenco, or scat syllables reminiscent of jazz�

Lyric Measure numbers/comments--- 001-061 Instrumental prelude (harmonium, tabla, hand-clapping).

Z,Z’ 062-079 Leading into the song proper, Nusrat Fateh Ali Khan and a second tenor soloist (represented by Z’ ) provide an antiphonal introduction on syllables such as oh-ra-eh which sound like sol-fa (i.e., not reasonable candidates for ‘translation to English’).

A,a,B+,B,a,b,a,b,Z,a,bA,a,B,b

080-209 The lyrics begin here, about 1 minute into the music.

C,c+,D,c,d,Dc,d+

210-265

A,a,A,a+,a,Z,A,Z’,a

266-325 In this section, the refrain is established as: ‘Dil lagi bhool jani paregee’; i.e., essentially lyric A but with the word Tumeh excluded.

E,F 326-336

a,a,Z,a,a 337-371

G,H,I,a 372-399

J,K,a,K,a 400-437

Z,a,L,a 438-474

M,N 475-496

a,A+,B+,B+ 497-525

C,c,D,c,d 526-565

O,o,O+,Z,o,Z,O+,O+

566-697 Lyric ‘O’ is expanded by two lengthy scat syllable interpolations (Z).

P,p+ 698-713

Q,q,R+,q,r 714-753 The fade-out: choral echo of lyrics q-r (= m. 738-753).

Nusrat Fateh Ali Khan: “Tumeh Dil Lagi...”

L-5

Glossary

Selected words from the song1

Page # in Shakespear dictionary2

Spelling in Shakespear dictionary3

Gloss from the Shakespear dictionary / My comments

aag 119 ag fire

aah 178 a h a sigh

aazma 76 azma to try

apna, apnay 22 same of or belonging to self

ashqi 1213 ashik-i amour, love, courtship / related to ishq below

bhool 320-321 bhu ¯l forgetfulness, to forget

dana 906 dahna¯ to burn

darya 855 darya ¯ river

dekha 919 dekha¯ sight, seeing / see also dekhnaa to see, experience.

dil-lagi 870 same application of mind, attention, diligence, diversion, attachment, incli-nation. / Hence, by extension, to flirt. (For more on this term, see my entry for diligence in the table in Appendix U.)

doob 931 du bna to drown, to be destroyed

ghoont 1491 ghu ¯ntna to gulp/see lahoo

ham 1869 same also, even, likewise

hamen 1874 same us, to us

hansi 1848 same laughter, derision

hanso 1876 hansor jocular, merry

ishq 1221 ishk love

ka -- -- possessive particle, as in dil ka mamla [it’s a] matter of heart [not flirtation] and aag ka darya river of fire [not water].

kabhi 1314 same ever, sometime

Appendix L: The Lyrics

L-6

khail, khel

1420 same play, game, sport, pastime / related to kel, page 1424: play, sport, amorous dal-liance.

khoon 825 khun blood

koi 1394 ko’i any, someone; with nahin it means nobody, none.

kuchh 1329 same any, something, somewhat; with nahin it means none, not any.

labon 1504 lab lip

laga 1521 lagga affection, attachment

lagi -- -- see dil-lagi

lahoo 1535 lahu ¯ blood; lhau-ghuunt-na to gulp blood = to suffer

magar 1664 same unless, except, only, but

mohbat 1582 muhabbat friendship, love

mamla 1642 mu’amala treaty, business, concern, matter

pani 368 pani water

pata 372 pa¯ta a sign, mark, symptom, hint

phir 467 pir pain, ache, sickness

rahon 956 ra ¯h road, path / ILS interpretation of lyric B: “Get into the path of love and experience it.”

rula-ae 994 rolana to cause to weep

samajh 1094 same to explain, admonish

trapnae 514 tarapna ¯ to be desirous

tawaqo 558 same hope, trust

Selected words from the song1

Page # in Shakespear dictionary2

Spelling in Shakespear dictionary3

Gloss from the Shakespear dictionary / My comments

Nusrat Fateh Ali Khan: “Tumeh Dil Lagi...”

L-7

tumeh, tumehn

-- -- you (pl.) / this is one of the peculiarities of Hindi/Urdu grammar: certain pronouns are described as grammatically plural even though they may refer to a single individual, depending on context; mean-while, the ‘plural’ attribute has only to do with grammatical agreement within the sentence. So, “you (pl.)” means something different than what 99.99% of readers would assume. In this song, for instance, one hopes that the poet is addressing only one woman, not several at once.

wafaon 1835 wafa performing a promise; fidelity

zakham 1008 zakh m a wound, sore

zamanay 1012 zama na the world, an age, the heavens

1. The parties referred to on page 63 offered translations that go sentence by sentence, and also a word-by-word transcription. Later, by a sort of “triangulation” process, using a dictionary plus the transcription plus the translations, I was able to resolve most of the text down to the level of individual words. This glossary — consisting mostly of nouns and adjectives — is a subset of the words that came out of that process.

2. Page numbers refer to entries in the John Shakespear’s Dictionary of Urdu/English and English/Urdu (Ames Library, University of Minnesota). This is one of the earliest such dictionaries (1834; reissued by Sang-E-Meel Publications in 1980), so it’s bound to contain anachronisms; but it is still — to my amateur eye, at least — one of the best, both in its scope and in its depth and precision. The layout is curious: 1105 pages numbered as 2209 half pages.

3. Orthography: The Shakespear dictionary uses a macron to indicate a long vowel whereas the ILS transcription uses a double letter, and the former uses long ‘u’ where the latter uses long ‘o’; this much is a superficial difference, but in one case, at least, a comparison of the two columns might reveal a genuine linguistic shift: aspirated phir in the ILS transcription v. unaspirated pir in Shakespear’s nineteenth century dictionary.

Selected words from the song1

Page # in Shakespear dictionary2

Spelling in Shakespear dictionary3

Gloss from the Shakespear dictionary / My comments

Appendix L: The Lyrics

L-8

This page is blank.

U-1

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Appendix U

U-2

Ruminations on the Invisibility of Urdu

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Ruminations on the Invisibility of Urdu

U-3

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Appendix U

U-4

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U-5

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Appendix U

U-6

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Ruminations on the Invisibility of Urdu

U-7

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No sooner had Regina settled down on the verandah to review her algebra, than there was thunder all about. Earlier, she had changed into her pajamas for some Zen meditation. Meanwhile, her brother was still fully dressed, so he was the one who should have brought home the cows; however, he refused to sully his jodphurs. Exasperated, Regina threw a bandanna over her head and ran through the grass to rescue the cows, then led them home and bound them securely by the bungalow door. Meanwhile, her brother, still savoring the saffron rice that Regina had prepared earlier in a tripod kettle, continued drinking his julep, and tried to look as innocent as a cherub with a halo, but deep down he knew he was bad, nay cruel, for failing to help.

Languorously, he opened a book of fairy-tales and read about a mouse who defeated three ghouls with a polished marble mirror: seeing themselves reflected, the ghouls savaged their own lips and left a trail of red gore as they fled back to their cave full of loot. But the cave door was blocked by Pentagon thugs who were trying to steal the powers of a genii inside. Feigning a jungle safari, they had come on a mission of paramount importance with global implications… (and so forth.)

As the thunder died down, Regina and her brother sat gazing upon the road. Presently, a gazelle shot by under the stars, followed by a lumbering caravan lit from within by many candles wafting sandal-wood. Romanies afoot?

0RVW�RI�WKH�QRXQV�LQ�WKLV�IUDJPHQW��DOVR�VRPH�RI�WKH�DGMHFWLYHV��FDQ�EH�IRXQG�LQ�WKH�WDEOH�WKDW�IROORZV��ZKLFK�ZLOO�EH�D�VDPSOHU�RI�• (QJOLVK�ZRUGV�FRJQDWH�ZLWK�8UGX��L�H���ZRUGV�WKDW�KDYH�6DQVNULW��+LQGL��3HUVLDQ�RU�$UDELF�HW\PRQV�URRWHG�LQ�,QGR�(XURSHDQ�DQWLTXLW\��

• (QJOLVK�ZRUGV�UHFHQWO\�ERUURZHG��VD\�ZLWKLQ�WKH�SDVW�����\HDUV��IURP�+LQGL�RU�IURP�3HU�VLDQ��RU�QRWLRQDOO\�´IURP�8UGXµ�³�WKDW�ZRXOG�EH�P\�SRLQW���DQG�

• (QJOLVK�ZRUGV�RWKHUZLVH�FORVHO\�ERXQG�WR�DQ�8UGX�FRXQWHUSDUW��VD\�E\�D�FRPPRQ�VRXUFH�RQO\�DV�IDU�EDFN�DV�$QFLHQW�*UHHN��QRW�LQ�WKH�PLVWV�RI�,QGR�(XURSHDQ�SUHKLVWRU\�

Appendix U

U-8

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Ruminations on the Invisibility of Urdu

U-9

MyEnglish

Candidates1

John Shakespear Reference2 Comments and/or asnippet from

Webster’s or OED3Pg.# Urdu2 His Engl. Gloss

algebra 611 jabr oppression, strength, making good a deficiency; Algebra

Al-Khwarizmi is the Arab mathematician who translated the book about the Hindu art of reckoning (De numero indorum as it survives in a Latin retrans-lation) that led eventually to our adopting the Hindu-Arabic numerals. He also wrote a treatise on Hindu algebra and Pythagorean geometry called Al-jabr wa’l muqaabalah, whence the English term ‘algebra’; see Carl Boyer, A History of Mathematics (revised by Uta Merzbach, 1991), p. 227-228.OED: al-jebr wa’l-muqaabalah the art of redintegration (reunion) and equation.

algorismalgorithm

-- -- ---> W: [algorism means] the system of [Hindu-]Arabic numerals; the art of calculating by means of nine figures and zero.OED: “[algorism is] from al-Khowaarazmii…the Arab mathematician…[the term] passed through many pseudo-etymological perversions, including a recent algorithm in which it is learnedly confused with Greek αριθµοσ ‘number.’ ”

bad 226 bad bad

bandanna 281 bandhan a to bind, fasten, shut

OED: cf. Hindustani baandhnuu [which, para-phrasing, means:] to tie-dye.

barren 234 barr dry land, desert

bazaar -- -- ---> Urdu bazaar.OED: ultimately from Persian baazaar adopted in Hindustani and Turkish, seems to have come into English from Turkish via Italian.

Appendix U

U-10

bind 281 bandh binding, bandage, bondage

OED: cognate with Sanskrit bandh.

brother 235 biradar brother Related to Hindi bhai, whence the name of the Bhai religion, no doubt, stressing brotherly love.OED: …Old Aryan *bhraater whence also Skr bhraatr.

bubble 270 bulbula bubble (s.m. noun)

Not a very dignified example, I’ll admit.Anyway, the pair looks cognate to me. Consider: sprudeln in German, awa in Japanese, which is to say not every language necessarily has a bubble-like word for bubble. But Urdu does. Compare the entry for cut below.

bungalow 284 bangla thatched house, summer house

Borrowed by the British, one assumes.W/OED: house in the Bengali style.

burn (v) 245 barn a to burn But you don’t go around borrowing a word like burn; it must be cognate.

candle 1290 kandil candle, lantern

W and OED mention neither a cognate nor a loan-word relationship. So, borrowed into Urdu from somewhere?

caravan 1300 karw an a caravan For marketing purposes, car + van ==> Dodge Caravan (sounds better than ‘Mom-mobile.’) Now put that in your pseudo-etymology pipe and smoke it!OED: Pers. kaarwaan.

cave 1408 kahf cave See comment for ‘burn’.

MyEnglish

Candidates1

John Shakespear Reference2 Comments and/or asnippet from

Webster’s or OED3Pg.# Urdu2 His Engl. Gloss

Ruminations on the Invisibility of Urdu

U-11

cherub 1342 karrubi a cherub, one of a high class of angels

OED: Hebrew(I.e., according to OED, Hebrew is the source of both our word and the Urdu word. Too bad. As an Eng./Urdu cognate, this would have been my hands-down favorite on the list. But some things are just not meant to be…)

coffee 1292 kahwa coffee OED: Arabic gahwah, Turkish kahvey.

coolie 1289 kuli a slave, cooley

OED: “Now found in the Indian vernacular generally: Urdu qulii, quulii, Bengali kuulii…; of disputed origin” [i.e., some-where in India, but there is doubt about the exact locale].Incidentally, the etymology of kulii is confusing for another reason entirely than the geo-graphic one cited above: Con-sider Chinese ku-li, “[to live by application of one’s own] bitter strength,” which at some point was quite naturally used for ‘coolie’ — in Chinese and in Pidgin English — and from there it was a short step to the ‘coolie hat’ (in English). But still the two words are genea-logically unrelated. Period. Moral of the story: don’t jump to conclusions; re-search it and find out.

MyEnglish

Candidates1

John Shakespear Reference2 Comments and/or asnippet from

Webster’s or OED3Pg.# Urdu2 His Engl. Gloss

Appendix U

U-12

corner 1392 kona corner see comments for burn and for cave above.

cotton 1286 kutn cotton OED: Arabic qutn.

cow 1430 gaw cow (also go/gau on page 1465: a cow, one of the cow kind)

OED: Aryan gwoous…whence Skr gaaús, gaam, gau-, go-…Latin boos, bov-, bo-

cruel 1342 krur cruel, pitiless

cut 1296 kat a cut As with mama, it happens that many languages all around the world include a word that sounds and means the same as our own word cut; therefore, such a correspondence is not necessarily cognate, but in the case of Urdu I’d bet a penny it is. Compare bubble above.

dental 836 dant tooth

deuce 883 du’ a the deuce at cards

diligence 870 dil-lagi application of mind, attention, diligence, diversion, attachment, inclination.

Yes, Shakespear includes diligence in his gloss, but no, neither W nor OED takes diligence back to Hindi or Sanskrit, only back to Latin. However, consider this snippet from the OED entry: “L. diligent-em attentive, assiduous, careful…pr. pple. of diiligere to value or esteem highly, love, choose, affect, take delight in (doing),” and tell me I’m completely mad to propose diligence/dil-lagi as a possible cognate pair.

door -- -- ---> Urdu dar.OED: …same stem dhur-, dhwâr- appears in Skr. dur, dwâr.

MyEnglish

Candidates1

John Shakespear Reference2 Comments and/or asnippet from

Webster’s or OED3Pg.# Urdu2 His Engl. Gloss

Ruminations on the Invisibility of Urdu

U-13

fairy 407 pari fairy (Persian)

father 385 padar father OED: Old Aryan p’ter whence Skr. pitr.

gazelle 1240 ghazal a fawn, a delicate young person

OED: Arabic ghazaal, which prob. passed first into Sp. and thence to the other Romance tongues.

genie,genii

608 ja nn the race of genii or demons

OED: …b. a jinnee; one of the sprites or goblins of Arabian demonology…genii in the plural.(Per W and OED, the word ‘genius’ has some semantic overlap with ‘genie’ but that’s all; genealogically it has its roots elsewhere, in a Latin word.)

-- 636 jinn a genius, spirit, one of the Genii

see entry for genie above.

ghoul 1246 ghul sylvan demon; corpse

OED: Arabic ghuul, an evil spirit supposed (in Moham-medan countries) to rob graves and prey on human corpses.

grass 1478 ghas grass, straw, hay

see comments on burn, cave, etc.

guitar -- -- ---> Urdu qiitaar.W: “…[guitar is from] Arabic qiitaar, [which in turn came] from Greek kithara.”In other words, there is no cognate relationship, nor is it quite an Arabic borrowing, rather a curious zigzag over time, from Greece to Arabia then back into Europe again. So guitar should be removed from the list, roughly for the same reason as cherub above.

gullet 1458 gulu gullet, throat

MyEnglish

Candidates1

John Shakespear Reference2 Comments and/or asnippet from

Webster’s or OED3Pg.# Urdu2 His Engl. Gloss

Appendix U

U-14

guru 14451470

guruguru

Important, honorable; a spiritual guide, tutor.A saint.

halo 1847 hala halo, circle round the moon

hookah -- hukka (J.S. knows about the hukka: he makes several oblique refer-ences to it, but his main entry for the word eluded me.)

OED: “Arabic (Pers., Urdu) huqqah casket, vase, cup, ‘the bottle through which the fumes pass in smoking tobacco’ extended in Urdu to the whole apparatus…the narghile of India.” But of course, the narghiles of India.(Along with kulii above, this is one of the rare cases where Urdu is cited explicitly by the dictionary makers.)

jamboreejubilee

-- -- ---> To me, these two festive words carry as distinctly an Indian flavor as that wonderful word narghile immediately above, but dictionary-makers have only this to say: jamboree is “U.S. slang, origin unknown,” while jubilee goes back to a Latin root, no further. Neither of them is a loan word, neither of them is an IE cognate.

jodhpurs -- -- ---> OED: Name of a town and dis-trict in Rajasthan; riding-breeches [in the style of that district].

julep 628 jullab rose water OED/W: Arabic julaab, from Persian gul + aab rose + water. (So far so good, but specifi-cally, I wonder how those minty ones wound up in the Deep South of the USA?)

MyEnglish

Candidates1

John Shakespear Reference2 Comments and/or asnippet from

Webster’s or OED3Pg.# Urdu2 His Engl. Gloss

Ruminations on the Invisibility of Urdu

U-15

jungle 639 jangal a forest, a wood

Isn’t language queer some-times, with the meanings all jangled and jumbled over time?OED: Hindi jangal desert, waste, forest.

karma 1340 karmi relating to any work, doing works, fortunate; cause

kismet 1281 kismat fate (Ar.) OED: Turkish kismet, Pers. qismat, adopted from Arabic qismat(t).

labia 1504 lab lip

lacquer 1521 lakhera ¯ a varnisher Related to lacquer?

load 1499 la d load

loot 1528 lu t plunder (s.f.)

OED: adopted from Hindii luut.

lop 1527 lop cutting off

marble 1610 marmar marble J.S. goes on to say this one was a loan word into Urdu from Greek. So, like cherub above, marble doesn’t really belong on my list, but marmar is such a pretty word, I couldn’t stand to erase it; and, with appropriate pangs of guilt, I even used it in the story about Regina and her brother.

mirror 1699 mir’a ¯t mirror

mortify 1601 mirt death Fr. la mort

mouse 1707 mush mouse OED: “…Skr muuš.”Yes! That’s the kind of word you don’t go begging and bor-rowing; you own it and share it as a cognate, from two mil-lennia back. And wouldn’t Beatrix (“The Tale of Two Bad Mice”) Potter be tickled by this one?

MyEnglish

Candidates1

John Shakespear Reference2 Comments and/or asnippet from

Webster’s or OED3Pg.# Urdu2 His Engl. Gloss

Appendix U

U-16

myrrh 1600 murr myrrh OED: “…of Semitic origin (Arabic murr, Heb. moor).”I must demur; it’s yet another cherub case. See above.

not -- -- ---> See discussion of Sanskrit neti-neti on page 56 above.

opulence 168 op brilliancy, lustre, polish

Cognate? Doubtful. Probably just a coincidence. And yet…

orange 1742 naranj an orange; orange colored

OED: …the Sp. and Gr. are adaptations of Arabic naaranj, in Pers. naarang…Hindi narangi.

pajamas 358 pa-ja¯ma trousers, long drawers

See discussion immediately following this table.OED/W: loan word.

paramount 402 param best, most, excellent, supreme

paternal 385 pidar-i ¯ paternal

pentagon 425 panj-gona pentagon

pepper 420 pilpil pepper OED: cf. Sanskrit pippa’lii

piss 411 pishab urine

punch(the drink)

365 panch five W says: 5-flavored drink con-cocted in India, named after the Hindi for ‘five.’ OED says: “Er, well, yeah, that’s probably where it came from, I suppose, but…” (my paraphrase)

pundit 428 pandit wise, learned

OED: Hindi pandit.

rage 948 rajas passion, love of sensual enjoyment

Far-fetched, you say? Think of the phrases “in a rage of passion” and “all the rage,” both of which carry a positive connotation, nothing to do with anger.

MyEnglish

Candidates1

John Shakespear Reference2 Comments and/or asnippet from

Webster’s or OED3Pg.# Urdu2 His Engl. Gloss

Ruminations on the Invisibility of Urdu

U-17

red,ruddy

-- -- ---> Urdu rudhira.W: red, bloody in Sanskrit. OED: Skr rudhira- red.

Regina,raja

-- -- ---> Two kinds of royalty: Regina, a woman’s name meaning queen in Latin (OED); raajaa, a Hindi word meaning prince or king. Cognate, I say.

Romany(a Gypsy)

-- -- ---> W: a Gypsy, from Sanskrit domba, low caste musician.See also endnote [b].

safari 1076 safar-i a traveler OED: Swahili, journey, expe-dition, from Arabic safar journey.

saffron 1011 za’faran saffron, hence Ital. zafferano; saffron colored (yellow)

OED: The ultimate source is Arabic za’faraan (adopted unchanged in Turkish, Persian, and Hindustani).

sandal-wood

720 chandan sandal-wood OED: The ultimate source appears to be Skt chandana (Hindi chandan).

savage 1034 sawaj savage, wild

sphere 1042 sipahr the sphere, celestial globe, the world

star 1043 sita ¯ra star see comments on burn, cave, etc.

MyEnglish

Candidates1

John Shakespear Reference2 Comments and/or asnippet from

Webster’s or OED3Pg.# Urdu2 His Engl. Gloss

Appendix U

U-18

thou -- -- ---> Urdu tum = you, informal. Cf. Latin, French tu.OED: Skr twa-m.

thug 590 thag robber, assassin

OED: Hindi thag.

thunder 549 tundar thunder OED: Skr. tan to sound, L. tonare to thunder.

tripod 505 tirpad tripod

Zen 913 dhyan meditation, reflection.

OED: …adopted from Japanese zen, [which had been] an adap-tation of Chinese chan, [which in turn was] an adaptation of Sanskrit dhyana meditation.

1. On this list, I’ve willfully commingled recent loan words like algebra and pajama with venerable cognates such as cow and grass. Why? I’m in an amateur, populariz-ing mode, merely trying to paint a broad-brush picture of the sisterly bond between Urdu and English, and I’m not concerned whether it might raise the blood pressure of a professional linguist. Scope: I don’t have a clear idea of the scope covered by this list. Does it cover 2/3 of all the word pairs that might conceivably be kicked around this way? 1/3 of them? These are just the ones I happened to become aware of, higgledy-piggledy, in the course of this transcription/translation project.

2. Now, once again, what do we mean by Urdu? Sad, is it not, that even now, after all that has been said, I still feel a temptation to place the word in quotation marks, or to immediately break it down this way«

Urdu = Hindi + Persianwhere Hindi = Hindustani + Sanskritand Persian = Persian (Farsi) / Arabic + 1/9 Turkish«

«as if it were not a real language but some temporary whimsical construct of a mathematician on his way to proving a dubious conjecture, or a bungled recipe for Turkish coffee. What is it about that word ‘Urdu’ that makes it keep receding to the horizon, threatening to slip into oblivion? This is both intriguing and a little bit vex-ing. Not unlike a deferential Mussulman, as viewed by an “up front” and forthright American.

MyEnglish

Candidates1

John Shakespear Reference2 Comments and/or asnippet from

Webster’s or OED3Pg.# Urdu2 His Engl. Gloss

Ruminations on the Invisibility of Urdu

U-19

3. In this column, ‘W’ stands for Webster’s Third New International Dictionary, Unabridged, 1966), and ‘OED’ stands for The Oxford English Dictionary, Second Edition. The abbreviation ‘W’ or ‘OED’ alone (with no accompanying snippet) is a simple confirmation that “Yes, the makers of the dictionary in question would agree that the English/Urdu word pair in this row has a loan word or cognate relationship” (although, as discussed earlier, they would hardly ever refer to the right side of the equation as “Urdu” anything, not even in the case of a loan word). If I cite neither W nor OED, I might have some other authority for believing the word pair is cognate or I might be speculating on my own just for the fun of it. Examples that fall in the latter category are my entries for candle, cave, corner, opulence, and rage.

Orthography (again): In column 3, I follow John Shakespear exactly, using the macron to indicate a long vowel. Elsewhere (in the rightmost column and in the text outside this table), I substitute a doubled vowel for the elegance of a macron. As mentioned earlier, this is a superficial kind of variance that carries no lexical or lin-guistic significance; it’s merely an artifact of the methods used for constructing this document.

Appendix U

U-20

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Ruminations on the Invisibility of Urdu

U-21

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Appendix U

U-22

This page is blank.

X-1

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Appendix X

X-2

Endnotes

[a] For the listener who is normally passive, a transcription might provide a sense of participation; but for the professional musician, it could be just the opposite: an opportunity to relax and simply watch the notes go by on the page; a feeling like “This Bud’s for you,” as they say in the world of American blue-collar beer advertisement. One of Josephine Hart’s protagonists says, “But then I was never ambitious. Few people are. Perhaps there is in us some inherited, ancient knowledge. The majority do not desire the world — knowing on some primitive level that it disappoints. They are quite content to let the blind few pursue their path to wisdom. And to watch those trapped by genius forced to sacrifice themselves, and those trapped by talent to emulate them. Much better to be in the audience, watching the actors find the surprise ending.”From Sin (Knopf 1992), page 44. Swooping in from a higher altitude than “This Bud’s for you,” Hart’s character brings us finally down to the same essential thought: perhaps it is time to sit down, relax, just be a spectator. (In passing, note the K.O. power of that one word, ‘emulate.’ In the hands of Josephine Hart, all words — even the titles of her novels: Damage. Oblivion. Sin. — become as dangerous and potentially as hurtful as knives.

[b] “See Isabel Fonseca, Bury Me Standing: The Gypsies and Their Journey (Vintage Books, 1995), p. 83-112.

[c] More about harmoniums: When I left Berkeley to attend Los Angeles City College in 1961, my stepfather gave me a harmonium so that I could keep on composing while living in a garret, as it were. Harmoniums come in many shapes and sizes, all of them fairly low-tech. Mine was powered by two foot pedals, in a left, right, left, right bicycle-riding manner. Also, there was a knee-lever for adding a crescendo; that meant you could do a diminuendo, too, but only in the aftermath of a crescendo. Note the “wa-wa” at m. 40 for an example of this effect, although, in the present song, it is more likely produced by some manual fiddling with the bellows: members of a Qawwali ensemble perform from a cross-legged position, so their preference is for a still smaller kind of harmonium than the one I just described. In lieu of an internal bellows driven by pedals, their favorite kind has an external bellows that you pump, rather in the manner of an accordion, with one hand, typically the left hand, so that only the right hand is free for playing the keyboard. But if that kind was used for this song, whence the smoothly parallel octaves that sound like two hands playing along in tandem? Nusrat has a pair of harmoniumists in his Party, one of whom plays using his left hand, the other his right, on two separate instruments. (See album notes for the CD cited in note [f] below.) Anyway, it was on some species of this quaint device — functionally equivalent to the Casio synthesizer that a student might buy today — that I worked out my first compositions. Lots of good associations, except that I had practically

X-3Endnotes

forgotten such funny little squeeze-boxes ever existed in the world. Then one day I was reading some V.S. Naipaul: “[In my childhood home in Trinidad, more than in people,] India lay about us in things: in a string bed or two... in plaited straw mats; in innumerable brass vessels; in wooden printing blocks...in drums and one ruined harmonium; in brightly coloured pictures of deities on pink lotus or radiant against Himalayan snow; and in all the paraphernalia of the prayer-room: the brass bells and gongs and camphor-burners...” (V.S. Naipaul, An Area of Darkness, André Deutsch 1964, Penguin 1968. The list is introduced by Naipaul on page 29; he refers back to it on page 257.) Thanks to that list dredged up out of his memory, it dawned on me that what I had been hearing in the background of various recordings from India and Pakistan of late was my old friend, the harmonium. Finally, for the connoisseur of footnotes, here is an excerpt from the tail end of Robert Craft’s album notes for Anton Webern: The Complete Music (Columbia K4L-232, 1957), page 29: “A great deal could be said of the problems of this project, of searches in Los Angeles second-hand piano shops for a proper harmonium, of devices added to a tenor saxophone to produce a non-existent low note, of hours and hours of rehearsal...” That would have been for Webern’s Five Pieces for Orchestra, Opus 10.

[d] Edward Rothstein, Emblems of Mind: The Inner Life of Music and Mathematics (Random House, 1995); see especially pages 99-101, where Rothstein builds on the work of Victor Zuckerkandl, a Viennese philosopher of music.

[e] However, it appears that the true inventor of the “Escher” style was one Oscar Reutersvärd, working in Sweden circa 1930. See Jan Gullberg, Mathematics: From the Birth of Numbers (W. W. Norton 1997) page 374, “Phantasmagoric Geometries.”

[f] “Haqq Ali Ali” is track 3 on JVC World Sounds CD VICG-5030, Qawwali: The Vocal Art of the Sufis [II]. In this song, it is easier to see what I mean by a Neutral Ears perspective, although it certainly exists in “Tumeh Dil Lagi…” as well. To strengthen the overall rhythmic theory I’ve proposed, it would be reassuring if there were also cases where the whole song was felt from a Hip Ears perspective. The song “Man Atkeia Beparwah De Naal” is such an example: in that song, context defines all clapping as Upbeat clapping, from beginning to end. It is track 1 on the Rapture album cited on page iii above.

[g] Mantle Hood, The Ethnomusicologist (McGraw-Hill, 1971), in the caption for Illustration 2-7, which spans pages 62-63.

[h] Thomas Hardy, Return of the Native (Houghton Mifflin, 1967), p. 127, p. 138.

[i] “Isabel Fonseca, ibid, page 304. (Incidentally, Ms. Fonseca makes references passim to the Romany/domba connection that we’ve cited on page U-17 above.)

Appendix X

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3URGXFWLRQ��UH�FUHDWLRQ��GHWDLOVLayout and artwork by Surupan Press, using Finale Allegro 98®, Adobe FrameMaker® v5.5.6, and Adobe Illustrator® v8.0

Finale Allegro files:nusrat.mus = the 47 pages of transcription.nus_com1.tif...nus_com6.tif = Figures 1 through 6, imported by reference into file nus_comm.fm. Cropping Notes: Figure 1: deleted meter from left edge and bar line from right edge by cropping after import.Figure 2: cropped white space only.Figure 3: deleted meter from left edge and bar line from right edge by cropping after import.Figure 4: deleted meter from left edge and bar line from right edge by cropping after import.Figure 5: cropped white space only.Figure 6: deleted second bar line by cropping after import.

Adobe FrameMaker files:nus_comm.book is comprised of the following 8 files:nus_gfk.fm (frontispiece, imported from Adobe Illustrator as explained below)nus_titl.fm (the title page and acknowledgement section)nus_toc.fm (N.B., this is a manual, heavily annotated TOC, not the usual kind that’s a “generated list”)nus_mus.fm (This is an “envelope” file for holding 47 TIFF files that were exported from Finale Allegro and imported into FrameMaker by Reference; also holds a blank page 48. See discussion below.)nus_comm.fm (the commentary, p. 49-64)nus_ap_l.fm (Appendix L: Lyrics in Urdu and English)nus_ap_u.fm (Appendix U: Ruminations on the Invisibility of Urdu)nus_ap_x.fm (this appendix, for which the path and date/time stamp are as follows:

C:\nusrat\nus_ap_x.fm January 28, 2001 7:55 pm)

Adobe Illustrator files:nusrat01.ai (= source for the frontispiece, which was exported from AI as a PCX file for import to FrameMaker, now residing in file nus_gfk.fm listed above; this PCX file was Imported by Copy.)

PDF notes (electronic publishing):The best way to produce a PDF is to start by generating three subsidiary PDFs as follows:

front.pdf — from FrameMaker front.book (= nus_gfk.fm + nus_titl.fm + nus_ap_toc.fm),use Adobe PDFWriter to generate front.pdf

music.pdf — print from Allegro nusrat.mus to file nusrat.prn, then useAdobe Acrobat Distiller to produce music.pdf from the .prn file.

back.pdf — from FrameMaker back.book (= page_48.fm + nus_comm.fm + nus_ap_l.fm + nus_ap_u.fm + nus_ap_x.fm), generate back.pdf (using PDFWriter or Distiller).

Then merge the three subsidiary PDFs into a single PDF using the “Document > Insert Pages...” option in Adobe Acrobat Exchange®.

Another way: For the sake of integrating the music transcription into a single FrameMaker book, I exported nusrat.mus from Allegro as 47 separate TIFF files named nus_m01.tif...nus_m47.tif, then imported the TIFF files into file nus_mus.fm, which is part of nus_comm.book, as indicated in the “FrameMaker files” section above. So, one could use nus_comm.book to generate a PDF in a single step (with no subsidiary PDFs to be merged). This method would have the advantage of allowing cross-references (hyperlinks) into the music section; however, this method would also have a drawback: it would cause the lyrics font on pages 1-47 to be degraded because the TIFFs don’t handle it well. (For Figures 1 through 6, this is not an issue since they contain no lyrics, and the export to TIFF works fine.)

Technical note about the macrons: They were produced in Courier New font by typing vowel + overline, then adjusting the vowel to Spread = -60%. In a PDF, unless a good PostScript driver is used before the Distill step, these pseudo-macrons (overlines) may be lost.