Siddhi Sagar Prajapati, popularly known as Kuma Sagar, was born and raised in Bhaktapur, a city in the Kathmandu Valley renowned for its rich cultural heritage and traditional arts. From an early age, Sagar was surrounded by the vibrant rhythms and melodies of his native Newa culture. His formative years were deeply influenced by his grandfather, who played a crucial role in nurturing his early interest in music.
Sagar’s grandfather was a respected musician in the local
community, known for his skillful performance on the traditional Khing baja.
The dafa, a communal place where traditional musical instruments were learned
and played, became a significant part of Sagar’s childhood. Every evening, the
dafa would come alive with bhajan sessions, where the community gathered to
sing devotional songs and celebrate their cultural traditions. It was here that
young Sagar developed a deep appreciation for the music that would later shape
his career.
The young Sagar’s fascination with music was evident from his
early interactions with the dafa and the musical traditions of his community.
His grandfather’s influence was pivotal; he would often accompany him to the
dafa, absorbing the nuances of traditional music and learning about various
instruments. This exposure to music laid the groundwork for his future
endeavors, instilling in him a love for the traditional sounds of the Newa
community.
Academic Challenges and Musical Aspirations
Despite his burgeoning passion for music, Sagar faced
significant challenges during his formative years. Like many Nepali parents,
Sagar’s family placed a strong emphasis on academic success and saw music as an
impractical career choice. They encouraged him to pursue conventional education
and secure a stable job, often dismissing his musical aspirations as a fleeting
interest.
The societal expectations and familial pressures created a
challenging environment for Sagar. His hours-long music practices, often held
with friends, were frequently disrupted by disapproving neighbors. The noise
complaints resulted in stones being thrown at him, a stark reminder of the lack
of support he faced from his community. This period of his life was marked by a
struggle to balance his passion for music with the expectations placed upon him
by his family and society.
Sagar’s rebellious nature during his teenage years further
complicated his situation. Known as a “chakchakey chora” or troublemaker, he
was involved in occasional gang fights and class bunks. His parents’ concern
for his future led them to place him in a home rehabilitation program, hoping
to redirect his focus away from music and towards more conventional pursuits.
During this time, Sagar considered abandoning his musical dreams and
contemplated moving abroad in search of a different path.
The Turning Point: The Voice of Nepal
In 2019, Sagar received a life-changing opportunity when he
was selected to participate in "The Voice of Nepal." This competitive
singing reality show provided him with a platform to showcase his talent and
gain national recognition. Although he did not emerge as the winner, the
experience was a turning point in his career.
Participating in "The Voice of Nepal" allowed Sagar
to connect with other musicians, professional singers, and industry experts.
The exposure and feedback he received were invaluable, broadening his
understanding of music and performance. The pride reflected in his parents’
eyes during this period was a testament to their growing acceptance of his
musical aspirations.
The show’s experience motivated Sagar to take greater control
of his musical career. He decided to focus on creating his own music and
exploring his unique artistic vision. This decision marked the beginning of a
new chapter in his life, characterized by a commitment to producing music that
reflected his cultural heritage and personal experiences.
DIY Music Production: A New Approach
In 2020, Sagar took a bold step by recording his debut song,
'Bajeko Bajang,' using a mobile phone. Lacking access to professional
equipment, he utilized his phone’s mic for recording and edited the track using
Adobe Premiere. For the drum beats, he relied on a vocal processor,
demonstrating his resourcefulness and determination to produce music despite
the challenges.
The DIY approach to music production became a hallmark of
Sagar’s career. His ability to create and refine his music using minimal
resources showcased his creativity and technical skills. This method allowed
him to maintain a high level of artistic control and produce music that was
true to his vision.
The success of 'Bajeko Bajang' was a significant milestone
for Sagar. It established him as a unique voice in the Nepali music scene and
laid the groundwork for his future projects. His innovative approach to music
production and his dedication to preserving traditional Nepali sounds set him
apart from his contemporaries.
Revitalizing Traditional Sounds
Sagar’s music is characterized by a distinctive blend of traditional
Newa instruments and melodies. His compositions often incorporate elements from
the Malla period, a time known for its rich musical heritage. By integrating
instruments such as the Flute Dha, Bhusyah, and Khing, Sagar revitalizes
ancient sounds and brings them to contemporary audiences.
Songs like ‘Oh Champa’ and ‘Chahare Sari’ are prime examples
of Sagar’s commitment to preserving and celebrating Newa culture. ‘Oh Champa,’
in particular, stands out for its use of traditional bhajan rhythms and its
incorporation of a section from the bhajan ‘Shree Rajendra.’ This fusion of old
and new elements captured the audience’s attention and contributed to the
song’s success.
Sagar’s dedication to traditional music extends beyond his
compositions. He is actively involved in the entire process of creating and
releasing his songs, from writing lyrics to refining the final product. Before
starting any project, he creates a prototype of his songs and shares it with
his team for feedback. This collaborative approach ensures that his music
maintains a high level of quality and authenticity.
Inspiration and Creative Process
Sagar’s creative process is deeply intertwined with his
personal experiences and inspirations. He often draws from his surroundings,
whether walking down the street or riding a bike, to generate ideas for lyrics
and melodies. Spontaneous moments of inspiration are crucial to his
songwriting, as he constantly hums melodies and quickly jots down new ideas.
During the lockdown, Sagar dedicated long hours to
experimenting with traditional instruments such as the Basuri, Dha, Khing, and
Dhimey. This period of intense creativity allowed him to explore new sounds and
refine his musical techniques. He recalls working on his computer for 24 hours
straight, driven by his passion for music and his desire to push the boundaries
of his craft.
Sagar’s approach to music is characterized by a need for
mental clarity and calm. He believes that maintaining a clear and focused mind
is essential for effective creative work. This mindset allows him to fully immerse
himself in his music and produce compositions that resonate with his audience.
International Recognition and Fan Encounters
Sagar’s journey took an exciting turn when he had the
opportunity to perform at his first international concert in Australia. Despite
initial expectations of a smaller audience due to a concurrent event by The
Elements, the concert attracted around 500 attendees. This experience was a
significant achievement for Sagar, reflecting his growing popularity and the
expanding reach of his music.
A particularly memorable moment in Sagar’s career was an
encounter with a young fan in Thimi. The fan, who had been eagerly waiting to
meet Sagar, was so moved by the experience that he cried. This emotional
response was a first for Sagar and highlighted the profound impact his music
had on his listeners. The fan’s continued support and attendance at Sagar’s
concerts serve as a source of inspiration and motivation for the artist.
Challenges and Future Aspirations
Despite his success, Sagar has faced challenges within the
Nepali music industry. Limited support and recognition have been obstacles, but
he remains committed to his mission of celebrating and preserving Newa culture
through his music. His resilience and dedication to his craft reflect his
unwavering passion for music and his desire to inspire future generations.
Sagar’s future aspirations include continuing to release
songs that infuse Newa culture with contemporary elements. He aims to further
his impact on the Nepali music scene and contribute to the preservation of
cultural heritage. His efforts to innovate while honoring tradition are central
to his artistic vision and career goals.
Legacy and Influence
Kuma Sagar’s journey is a testament to his resilience,
creativity, and commitment to preserving traditional Nepali music. His
innovative approach to music production, combined with his dedication to
celebrating Newa culture, has established him as a significant figure in the
Nepali music industry.
Through his work, Sagar has not only revitalized ancient
sounds but also inspired a new generation of musicians and music lovers. His
ability to blend traditional and contemporary elements demonstrates his
versatility and artistic vision. As he continues to create and perform, Sagar’s
influence on the Nepali music scene and cultural landscape is poised to grow.
In conclusion, Kuma Sagar’s biography is a story of passion,
perseverance, and cultural pride. From his early experiences in Bhaktapur to
his international performances, Sagar’s journey reflects his dedication to
music and his commitment to preserving and celebrating Nepal’s rich musical
heritage. His contributions to the industry and his impact on his audience are
a testament to his artistry and enduring legacy.
Chameli Phoola…….G D/F# Aaunu hai timi …….Em7 Cadd9 Rangin chaayi ………G D/F# Bihaani ko kiran ………..Em7 Cadd9 Ra haawaa sari G D/F# Chaayi deu timi chameli Em7 Cadd9 ..Phoola ko basnaa jhai G D/F# ..Bihaani sabera ……..Em7 Cadd9 Ghaama ko kirana jhai G D/F# Chaala paailaa sang-sangai Em7 Cadd9 Tappa tappa hidhera G D/F# Kornu cha kathaa harmo Em7 Cadd9 ..Gantabya pugera G D/F# Sang-sangai paaila chaala na Em7 Cadd9 ……..G D/F# Juni vari merai hunu la Em7 Cadd9 G D/F# Em7 Cadd9 Haaa hahaha haaaaaaaha …. G D/F# Em7 Cadd9 Haaa hahaha haaaaaaaha …. Music: Verse 2 ……..G D/F# Timi nai ta hau …………Em7 Cadd9 Saaraa sansaara ……..G D/F# Timi nai ta hau ……….Em7 Cadd9 Mero grahana Cadd9 D G Aayi sangai chaau na …………Cadd9 D G Sadhai merai chaayaa bannu la …..G D/F# Eh suna champaa ek fera Em7 Cadd9 Naacha na cham-chama G D/F# …Mili haami ……Em7 Cadd9 Rangin banaau yo sansaara G D/F# Em7 Cadd9 Ohoo oho oooo… G D/F# Em7 Cadd9 Ohoo oho oooo… Oooo …. ………G D/F# Em7 Cadd9 Mero phoola ko baasnaa sangai ……….G D/F# Em7 Cadd9 Mitho dhuna gun-gunaau na ………G D/F# Em7 Cadd9 Mero phoola ko baasnaa sangai ……….G D/F# Em7 Cadd9 Mitho dhuna gun-gunaau na ….Cadd9 D G Haraaau na, khoja na ………..Cadd9 D G Sadhai samjhadai basa na ……G D/F# Eh chaayi deu timi chameli Em7 Cadd9 ..Phoola ko basnaa jhai G D/F# ..Bihaani sabera ……..Em7 Cadd9 Ghaama ko kirana jhai G D/F# Chaala paailaa sang-sangai Em7 Cadd9 Tappa tappa hidhera G D/F# Kornu cha kathaa harmo Em7 Cadd9 ..Gantabya pugera |
MaG D/F# Em7 D Cadd9 हो.. ओ हो.. ओ हो.. हो ओ … G D/F# Em7 D Cadd9 हु…. हु …… हु ……. हु .. हु … Verse 1 G D/F# Em7 सिर सिरे हावामा, …….D Cadd9 दुल्न थाल्यो मेरो मन G D/F# Em7 यो छोटो ज़िन्दगीमा, D Cadd9 केही छ आफ्नोपन G D/F# Em7 बतासमा झुम्दै, ……D Cadd9 अनि तारालाई गन्दै G D/F# Em7 समयको खोलामा …….D Cadd9 अघी बगिरहेको म ..G D/F# [ साइकल चढी, लदी र बदी, Em7 D Cadd9 उकाली ओराली चढिरको म G D/F# बादलको पछि, पंक्षीलाइ हेरी, Em7 D Cadd9 छायाँ संगै, दौडिरहेको म ] – 2 ..Am C G D [ हो… ओ … हो .. Am C G D हो… ओ … हो..ओ… ] – 2 G D/F# Em7 कसरी हराउँछौ …….D Cadd9 तिमी मलाइ भन न G D/F# Em7 हराउँनलाइ ……D Cadd9 कुनै ठाउँ छैन G D/F# Em7 मिर मिरे बिहानीमा D Cadd9 उदायो मेरो मन G D/F# Em7 कोही त आउँला नी D Cadd9 मलाई सम्झेर |
Oh ChampaCadd9 … Oh Champa gana wona, G .. Mana jigu khwekka ? Cadd9 .. Aase re aase champa G .. Jinha: napang we ka G D/F# .. Ji changu linhe linhe Em Cadd9 .. Nhyable napang jwe ka G D/F# .. Aase re aase champa Em Cadd9 .. Jinha: napang we ka Cadd9 … Oh Champa gana wona G .. Mana jigu khwe ka Verse 2 Cadd9 .. Jigu tho latthe joban G D/F# .. Changu lagi be ka Cadd9 .. Aase re aase champa G D/F# .. Jinha: napang we ka Cadd9 .. Aase re aase champa G .. Jinha: napang we ka Cadd9 .. Jigu tho latte joban G ..Changu lagi be ka G D/F# ..Aase re aase champa Cadd9 ..Totaa wane mate cha Cadd9 .. Jigu tho sansaare G Suhe maru kaa G D/F# Cha jiguu hridaey Cadd9 G D/F# Cha he jigu sansaraa Cadd9 G Cha he jigu sansaraa Bridge: LyricalChord App Ad Banner G .. Shree Rajendra nipa Cadd9 G Yahune uudhaara Cadd9 G .. Bhimana xigu guhna laa aye Cadd9 G .. Bhimana xigu guhna laa aye G D/F# Swohune bhumanadi Em7 Cadd9 ..Tho sansaar para Cadd9 G D/F# Bhawo bhagatina yaye jhi dhyana G D/F# Cadd9 D/F# Tarani janani bramayeni rani G D/F# Cadd9 D/F# Tarani janani bramayeni rani C …Nawadavi bimabali G D/F# Ganeshaya dhyana G D/F# Cadd9 D/F# Tarani janani bramayeni rani G D/F# Cadd9 D/F# Tarani janani bramayeni rani G D/F# Cadd9 D/F# Tarani janani bramayeni rani G D/F# Cadd9 D/F# Tarani janani bramayeni rani |
Hawa Ko LaharC Cmaj7sus2/B ..Hawa ko lahar sangai F C ..Udhi rahana mann bho ni F C …Timro tyo baasanaa Am G Mann mai chalyo re C Cmaj7sus2/B ..Hawa ko lahar sangai F C ..Udhi rahana mann bho ni F C …Timro tyo baasanaa Am G Mann mai chalyo re C Cmaj7sus2/B ..Timro tyo boli maa F C ..Magna bhayera F C ..Timro agadi ful haru bani Am Cham cham cham cham G Naachyo re C Cmaj7sus2/B Am G …Ooo .. ho ho .. hoo ho ho C Cmaj7sus2/B F G Ho ho … umm … Music: Verse 2 C ..Para baata sundaa F C ..Timro tyo boli F C ..Mutu mai laagera Am G Mann nai ramaayo re C Cmaj7sus2/B ..Para baata sundaa F C ..Timro tyo boli F C ..Mutu mai laagera Am G Mann nai ramaayo re C Cmaj7sus2/B ..Timro tyo heraai maa F C ..Lattha ma vayera F C ..Yo be-rangi jindagi mai Am G Indreni bani aayau re C Cmaj7sus2/B Am G Ooo .. oo .. ho ho .. C Cmaj7sus2/B ..Timi aayi yo dharti ……F G Rangaayo re F G ….Bataash maa udhe jhai F G …Laagna thaalyo yo mann F G …Timrai .. kalpanaa maa F G ..Bhule jhai laagyo ni yo tann ……C Cmaj7sus2/B Timrai sansaar maa ……..Am G (Timrai sansaar maa) …….C Cmaj7sus2/B Dubna mann bho ni ……….Am G ( Dubna mann bho ni) ……C Cmaj7sus2/B Meraa saaraa khusi …….Am G (Meraa saaraa khusi) ………C Cmaj7sus2/B Gare timrai nimti ……….Am G (Gare timrai nimti) C Cmaj7sus2/B ..Hawa ko lahar sangai F G ..Udhi rahana mann bho ni F C …Timro tyo baasanaa Am G Mana mai chalyo re C Cmaj7sus2/B ..Timro tyo boli maa F G ..Magna bhayera F C ..Timro agadi ful haru bani Am Cham cham cham cham G Naachyo re Timi aayi yo dharti ma Rangin chaayo re Kataaulaa jindagi yo Timro haat samaayi |
Baje Ko BajangBm Kholai maa ……………E Bage jhai laagyo … Bm Aakaashai maa ……………..E A Udhe jhai laagyo … …………………….Bm Baje ko bajang le E ..Chama chama naachi dim jastai E Bm ..Laagyo ni timro boli le …. E ..Dhuwa dhuwa vayo kharaani E Bm ..Kharaani bhai udhau laagyo ni .. Bm Kholai maa ……………E A Bage jhai laagyo … …………………..Bm Baaje ko bajaang le Music: Verse 2 ….Bm Basanta ritu .. ………………..E Chaaye jhai laagyo .. …..Bm Yo sheetal haawaa maa …………….E A Udhe jhai laagyo … ……………………….Bm Bajaang ko dhuwai le .. E ..Musu-musu haasi dim jastai E Bm ..Laagyo ni yo dhuwaa le … E ..Chiri-chiri charaa churungi E Bm ..Jastai gaayi diu jhai laagyo ni .. ……..G A Bm Yeah …. Music: (G A Bm) Bm G Berangine … …………..A Bm Eklo sansaara maa .. Bm G Saatau ranga …. ……………A Bm Charidai gayo.. ho… Bm G Berangine … …………..A Bm Eklo sansaara maa .. Bm G Saatau ranga …. ……………A Bm Charidai gayo.. ho… Bm Kholai maa ……………E Bage jhai laagyo … …………………….Bm Baje ko bajang le |
Sath DeunaVerse 1 F C A# ..Timlai mann paraauchu F C A# .. Timi sangai jiuna chahanchu F C A# ..Timlai mann paraauchu F C A# .. Timi sangai jiuna chahanchu …..F C Nadherai sataau na A# Chaadai farki aau na …..F C Nadherai sataau na A# Chaadai farki aau na F C A# .. Matra timi saatha deu na F C A# Matra timi saatha deu na F C A# Uu uu uu, uu uu uu F C A# Uu uu uu, uu uu uu F C A# …..Uuuu uuuu ….. F C A# …..Uuuu uuuu ….. Verse 2 F C A# .. Sangeet ni bagi rahanecha F C A# .. Matra sangai paailaa chaala na F C A# .. Hawa pani gungunaaune cha F C A# .. Matra timi saatha deu na F C A# .. Bho dherai nasataau na ha ho .. F C A# .. Chaadai farki aau na F C A# .. Bho dherai najiskaau na ha ho ho.. F C A# .. Chaadai farki aau na F C A# Uu uu uu, uu uu uu F C A# Uu uu uu, uu uu uu F C A# …..Uuuu uuuu ….. F C A# …..Uuuu uuuu ….. F C A# .. Timlai chahi rahane chu F C A# .. Harpal timi sangai hune chu |
Dharke JholaG D/F# Dharke jhola Illame Cadd9 D/F# Mai kholaa, mai kholaa G D/F# .. Birsi jaane tyo meri Cadd9 D/F# Maayaalu kaha holaa G D/F# Dharke jhola Illame Cadd9 D/F# Mai kholaa, mai kholaa G D/F# .. Birsi jaane tyo meri Cadd9 D/F# Maayaalu kaha holaa G D/F# .. Daafe munaal naacheko Cadd9 D/F# Banai maa, banai maa G D/F# .. Samjhanaa aaucha ……..Cadd9 D/F# Aaja yo mero manai maa G D/F# Sunkoshi nadi bageko Cadd9 D/F# Sa la la G D/F# Samjhanaa aaucha timro nai Cadd9 D/F# Jha la la G D/F# Sunkoshi nadi bageko Cadd9 D/F# Sa la la G D/F# Samjhanaa aaucha timro nai Cadd9 D/F# Jha la la ……..G D/F# Cadd9 D/F# [ Yei yea yea yea.. hoo … …..G D/F# Cadd9 D/F# Yei yea hee …….. hoo …….] – 2 G D/F# Banai bhari Guraans Cadd9 D/F# Dhakmakka fuleko G D/F# .. Bhuleko chainau ……….Cadd9 D/F# Hami bann paakhaa duleko G D/F# Lek maathi himaala Cadd9 D/F# Haaseko, haaseko G D/F# .. Bhuleu ki timi le …….Cadd9 D/F# Lok bhaakai maa naacheko G D/F# Sunkoshi nadi bageko Cadd9 D/F# Sa la la G D/F# Samjhanaa aaucha timro nai Cadd9 D/F# Jha la la G D/F# Sunkoshi nadi bageko Cadd9 D/F# Sa la la G D/F# Samjhanaa aaucha timro nai Cadd9 D/F# Jha la la ……..G D/F# Cadd9 D/F# [ Yei yea yea yea.. hoo … …..G D/F# Cadd9 D/F# Yei yea hee …….. hoo …….] – 2 Music: Verse 1 Repeat G D/F# Dharke jhola Illame Cadd9 D/F# Mai kholaa, mai kholaa G D/F# .. Birsi jaane tyo meri Cadd9 D/F# Maayaalu kaha holaa G D/F# .. Daafe munaal naacheko Cadd9 D/F# Banai maa, banai maa G D/F# .. Samjhanaa aaucha ……..Cadd9 D/F# Aaja yo mero manai maa |
Chahare SariG Cadd9 .. Para baata aayau ekkaasi timi G Cadd9 .. Indreni ko rang chahare sari G Cadd9 .. Para baata aayau ekkaasi timi G Cadd9 .. Indreni ko rang chahare sari ……….G D/F# Chahare sari Em7 Cadd9 .. Chahare sari ……G D/F# Em7 Timrai wori pari rahulaa ni Cadd9 …….G D/F# Dubna mann bho ni ………..Em7 Cadd9 Timrai wori pari …….G D/F# Em7 Timrai aakhaa heri basaulaa ni Cadd9 Verse 2 G .. Aagana maa uuddai aaye Cadd9 Chari sari G .. Rahi rahana mann bho …………Cadd9 Timrai wori pari G … Tuki baale sari jindagi …..Cadd9 Uujyaalo paari G Cadd9 .. Aayau timi bhagwaan sari ……..G D/F# Bhagwaan sari Em7 Cadd9 .. Aayau timi ……..G D/F# Em7 Cadd9 Bhagwaan sari ….. oo .. …….G D/F# Dubna mann bho ni timrai …………Em7 Cadd9 Timrai wori pari ……G D/F# Em7 Cadd9 Timrai aakhaa heri .. Bhajan: Cadd9 Yaa he mafu G .. Tho haangu haarati Em7 Shree Ranajit yaa Cadd9 G .. Mohana bumi sa daa na Cadd9 Yaa he mafu G .. Tho haangu haarati Em7 Shree Ranajit yaa Cadd9 G .. Mohana bumi sa daa na ..G [ Daya taya ka D/F# Jita cha karuna Em7 Cadd9 Ma te chan pranabinti sada G Daya taya ka D/F# Jita cha karuna Em7 Cadd9 Ma te chan pranabinti sada Cadd9 Mana ya mafu tipa maana Cadd9 Mana ya mafu tipa maana G D/F# Tana mana janani ya dhyaan Em7 Cadd9 Charana sarana jita yaa G Cadd9 Charana sarana jita yaa ] – 2 Music:Promosi headphone terbaik LyricalChord App Ad Banner G .. Jindagi maa aayau feri …..Cadd9 Sheetala bani G .. Rahi rahana mann bho ………..Cadd9 Timrai chaayaa bani G … Bihaani ko kiran sangai …..Cadd9 Uujyaalo paari dharti maa G Cadd9 .. Aayau feri bhagwaan sari ……..G D/F# Bhagwaan sari Em7 Cadd9 .. Aayau timi ……..G D/F# Em7 Cadd9 Bhagwaan sari .. ……….G D/F# Chaauna mann bho ni ………..Em7 Cadd9 Timrai wori pari …….G D/F# Em7 Cadd9 Timrai aakhaa heri .. |
Harey….E F#m Oh oh … hoo … ………A E Hohohohoo ooo ….. ….E F#m Oh oh … hoo … ………A E Hohohohoo ooo ….. Verse 1 ……E F#m Aauchau timi kuri rahe …..A E Harey … ……..E F#m Chaayaa sangai bhaagine …..A E Harey .. ……E F#m Maayaa chokho garine …..A E Harey .. ….E F#m Aashaa dherai garine …..A E Harey .. Music: F#m A … Timro angaalo maa malai F#m A .. Rahi rahana mann cha ni F#m A .. Timro nyaasro laagcha ni F#m A Am E .. Darr pani laagcha ni F#m A … Aaudainau bhane F#m A … Ek fera haasa na F#m A … Mero aathmaa le saarai Timro ek muskaan F#m A Am …. Saahaara mai baachne cha ……E F#m Aauchau timi kuri rahe …..A E Harey … ……..E F#m Chaayaa sangai bhaagine …..A E Harey .. ……E F#m Maayaa chokho garine …..A E Harey .. ….E F#m Aashaa dherai garine …..A E Harey .. ..E F#m [ Ha ha ha .. ha ha ha haaa …. ………..A E Ha ha ha haa .. hahahaa … ] – 4 |
FurfuriCapo on 6th fret Verse 1 ……Em Oo .. jaane vaye jaau ……………Em Eh maya aba dherai nasataau …..Em G Oh timro tyo chaala, dekhera aaja A Em Furfuri laagyo ni lau …….Em Aba jaane vaye jaau …………..Em Eh maya aba dherai nasataau ….Em G Oh timro tyo chaala, dekhera aaja A Em Furfuri laagyo ni lau A Em Aba afulai farki nahera malai A …….. Bharai bhagaai laanchu ………………….Em Doli ma chadhaai Music: Em [ Fuleko fula oilera jaancha, Em Mann mero jaandaina A .. Yei ho jiwan, daraai jaala G Em .. Yo tann jandaina ] – 2 …….Em Aba furfuri garne baani ……….Em Malai achammai laagyo ni ….Em Ho timro tyo heraai, G .. Mutu mai lagyo A Em .. Sakdina thaamna yo mann …….Em Aba jaane vaye jaau ……………Em Eh maya aba dherai nasataau …..Em G Oh timro tyo chaala, dekhera aaja A Em .. Furfuri laagyo ni lau Kumaari janani eh ho Em .. Kumaari janani devi A G Em …. Amuntra Bhairav hey janani Em Kumaari janani eh ho Em .. Kumaari janani devi A .. Ta ta ma ta tan mann tankaayo G Em Eh kumaari …….Em Aba yo samundra paari jaau ? ….Em Ki tyo samundra paari …..Em Oh timro tyo heraai, G .. Mutu mai lagyo A Em .. Sakdina thaamna yo mann …….Em Aba jaane vaye jaau ……………Em Eh maya aba dherai nasataau …..Em G Oh timro tyo chaala, dekhera aaja A Em .. Furfuri laaidu ki ? Music: K gardai ho kaanchi ? [ Jaane bhaye jaau kaanchi Laanchu tmi lai vana kanchi Jaane bhaye jaau kaanchi Doli maa chadhaai – 2 |
