Nachat ta, thei thei Nandakumar.
Shyamsundar is dancing in the bowers of Vrindaban.
Sakhiyan kahat, “Tatat ta thei thei,” manju kunja majhar.
The Gopis are singing, “Ta-ta-ta ta thei thei” (the notes used in Indian classical dance).
Bajat charan choom chananana noopur, kinkini dhooni jhanakar.
Krishna’s anklets are making a beautiful tinkling sound, which is accompanied by the sweet jingling sound of His ornamental waistbelt.
Hastak, mastak, kati, pad, bhrikutin, bheda dikhai nihar.
Through the movements of His hands, forehead, waist, feet and eyebrows, He is expressing the various moods of the dance.
Bajat chang, mridanga, dhol, dhap, sabai suran ik sar.
Percussion instruments such as the mridanga, changa, dholak, and tambourine, are all being played in rhythm.
Pancham sur son kunja-viharini, gavati rag malar.
Shri Radha is singing in raga Malhara in the middle key of the musical scale.
Kabahun bilambit, kabahun madhya laya, kabahunk drut laya dhar.
The rhythm of the singing and the dancing is sometimes slow, sometimes medium paced, and sometimes fast.
Lalitadik sangeet swaminihun, karat swaran vistar.
Lalita and other eternal associates of Shri Radha, who are experts in classical music, are stretching the keys through grace notes (tanas) and augmentations (alapas).
Kahat ‘Kripalu’ sakhiyan saba “Jai ho! Jai ho! Jai balihar!”
In the words of Jagadguru Shri Kripalu Ji, all the Gopis gathered there are joyously calling out, “Glory to Shri Radha Krishna! Glory to this enchanting scene!’
(Exerpted from Leela Madhuri of “Prem Ras Madira”, written and composed by Jagadguru Shri Kripalu Ji Maharaj)
© Radha Govinda Samiti and Bhakti Bliss
