In the realm of Nepali music, certain melodies and voices make a permanent imprint on the hearts of audience members. One such paramount piece is "Aakasaima Chil Ho Ki Besara" by Mahesh Thulung. A profoundly profound and reminiscent melody, "Aakasaima Chil Ho Ki Besara" catches the aggravation, yearning, and momentary nature of adoration, life, and connections.
Mahesh Thulung: A Melodic Excursion
Mahesh Thulung was brought into the world on October 16,
1982, in Ghumauney, Samchi, Bhutan, to guardians Dal Man Thulung and Run Maya
Thulung. His affection for music was sustained since early on, and his melodic
excursion started when he authoritatively entered the scene in 2003. He began
his examinations in Hindustani old style music, finishing his third year of
preparing. Afterward, he sought after a two-year degree in Western music from
Georgia State College, extending his melodic skyline and skill.
All through his vocation, Mahesh Thulung has delivered a few
works, with his most memorable collection "Timro Yaadle" turning out
in 2003, trailed by his subsequent collection, "Minutes," in 2010.
Aside from these collections, he has likewise delivered a couple of solo tunes,
each resounding with his profound comprehension of music and the human
condition.
As of now dwelling in Georgia, USA, Mahesh Thulung keeps on
being a persuasive figure in the Nepali music industry, mixing traditional and
current components to make melodies that touch the spirit.
The Production of "Aakasaima Chil Ho Ki Besara"
"Aakasaima Chil Ho Ki Besara" is a tune that
quickly catches the audience's consideration with its eerie song and powerful
verses. The melody addresses the core of the human experience, wrestling with
affection, misfortune, and the certainty of time. The verses, joined with
Mahesh Thulung's sincere vocal conveyance, make a strong close to home effect.
The verses of the melody portray the brief idea of life,
love, and trust. The monotonous lines "Dui commotion maya laidiuna k chha
ra" ("What could be allowed in two days of affection?") bring
out a feeling of yearning, recommending that even the most enthusiastic
feelings are impermanent and frequently beyond our control. The ensemble, with
its refrain "Aakasaima chil ho ki besara," illustrates a far off,
inaccessible love, as though it is a bird overhead, passing and outside our
ability to comprehend.
[Verse]
A F#m B A
Aakasaima chil ho ki besara
A F#m B A
Aakasaima chil ho ki besara
F#m B A
Dui din maya laidiuna k chha ra
B A
Dui din maya laidiuna k chha ra
F#m B A
Dui din maya laidiuna k chha ra..
[Verse 1]
A B
Salala bagchha sunkoshi nadi
A
Baluwa bagar ma..
A B
Salala bagchha sunkoshi nadi
A
Baluwa bagar ma..
A B
Bachunjel samma haskhelai garau
F#m A
Mare ta khola jungle ma
A F#m B
A
Jindagi ko bharosa k chha ra
F#m B A
Jindagi ko bharosa k chha ra
F#m B A
Dui din maya laidiuna k chha ra
B A
Dui din maya laidiuna k chha ra
F#m B A
Dui din maya laidiuna k chha ra..
[Music]
[Verse 2]
A B
Ukali jyan ko tyo eklo bara
A
Chhoidine kohi chaina..
A B
Ukali jyan ko tyo eklo bara
A
Chhoidine kohi chaina..
A B
Mai mari gaye birano desh ma
F#m A
Roi dine kohi chaina
A F#m B
A
Bani deuna timi nai sahara
F#m B
A
Bani deuna timi nai sahara
F#m B A
Dui din maya laidiuna k chha ra
B A
Dui din maya laidiuna k chha ra
F#m B A
Dui din maya laidiuna k chha ra..
[Verse 3]
A F#m
B A
Aakasaima chil ho ki besara
A F#m
B A
Aakasaima chil ho ki besara
F#m B A
Dui din maya laidiuna k chha ra
B A
Dui din maya laidiuna k chha ra
F#m B A
Dui din maya laidiuna k chha
ra..,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
B A
Laidiuna k chha ra
B A
Laidiuna k chha ra
B A
Laidiuna k chha ra
The Significance Behind the Verses
The melody opens with the line, "Aakasaima chil ho ki
besara" (Is the bird overhead lost or free?). This analogy represents the
artist's internal conflict and vulnerability. The bird, which can fly
unreservedly, addresses the artist's longing for independence from the
aggravation of solitary love or partition, yet it additionally indicates the
bird's powerlessness to genuinely "have a place" anyplace — similar
as how we frequently feel caught by our own feelings.
The following line, "Dui noise maya laidiuna k chha
ra" (What could be allowed in two days of adoration?), questions the worth
and maintainability of affection that is brief. This line mirrors that
adoration, when given in a nutshell minutes or without perpetual quality, can
feel fragmented and transient. The rehashed references to "two days"
act as a wake up call that feelings, similar to time, are short lived and
temporary.
As the tune advances, Mahesh Thulung digs further into the
aggravation of partition and yearning. The sections like "Salala bagchha
sunkoshi nadi" (The waterway Sunkoshi courses through Salala), joined with
symbolism of nature, carry a feeling of melancholic excellence to the tune. The
stream, similar to the progression of time, keeps on streaming, advising us
that life continues on no matter what our close to home battles.
The line "Jindagi ko bharosa k chha ra" (What
could be confided throughout everyday life?) mirrors the innate vulnerability
and capriciousness of life. The vocalist questions the dependability of
anything throughout everyday life, including connections and special
interactions. There is a feeling of renunciation in these words, as the
vocalist recognizes that life, in the entirety of its magnificence and
distress, stays questionable.
The melody's chorale, "Dui clamor maya laidiuna k chha
ra," (What could be allowed in two days of adoration?), continues to
return as a sign of how brief and temporary love can be, notwithstanding its
power. This redundancy adds weight to the focal subject of the tune and summons
a feeling of yearning and sadness.
[Intro]
A F#m B
A
आकाशैमा चील
हो कि बेसारा
A F#m B
A
आकाशैमा चील
हो कि बेसारा
F#m B7
A
दुई दिन माया
लाइदिउन के छ र *3
[Verse 1]
A B A
सलल बग्छ सुन
कोशी नदि बालुवा बगरमा
A B A
सलल बग्छ सुन
कोशी नदि बालुवा बगरमा
A B F#m A
बाँचुन्जेल
सम्म हाँसखेलै गरौ मरे त खोला जंगलमा
A F#m B
A
जिन्दगीको भरोसा
के छ र
A F#m B
A
जिन्दगीको भरोसा
के छ र
F#m B7
A
दुई दिन माया
लाइदिउन के छ र *3
[Verse 2]
A B A
उकाली ज्यानको
त्यो एक्लो वर छोई दिने कोई छैन
A B A
उकाली ज्यानको
त्यो एक्लो वर छोई दिने कोई छैन
A B F#m A
मै मारी गए
बिरानो देशमा रोई दिने कोई छैन
A F#m B
A
बनि देउन तिमीनै
साहारा
A F#m B
A
बनि देउन तिमीनै
साहारा
F#m B7
A
दुई दिन माया
लाइदिउन के छ र *3
[Outro]
A
F#m B A
आकाशैमा चील
हो कि बेसारा
A
F#m B A
आकाशैमा चील
हो कि बेसारा
F#m
B7 A
दुई दिन माया
लाइदिउन के छ र *3
B A
लाइदिउन के
छ र
B A
लाइदिउन के
छ र
B A
लाइदिउन के
छ र
Melodic Sythesis and Course of action
The tune of "Aakasaima Chil Ho Ki Besara"
supplements the profound profundity of the verses. The plan is unobtrusive yet
strong, with the guitar and woodwind assuming critical parts in making a
climate of wistfulness and despairing. The tune's design follows a basic
however viable example, permitting Mahesh's voice to become the dominant focal
point. The going with instruments, particularly the flute, bring out a feeling
of quiet, while the guitar gives a delicate, musical establishment.
The guitar pieces in the tune add a layer of closeness, as
the fingerpicked designs mix flawlessly with the vocals, making a practically
conversational tone. The flute solo, with its high, tormenting notes, adds a
hint of despairing that highlights the melody's focal subjects of yearning and
misfortune.
The Imagery of Nature in the Tune
Nature assumes a critical part in the imagery of
"Aakasaima Chil Ho Ki Besara." The symbolism of streams, valleys, and
mountains adds a feeling of scale to the tune, as though the vocalist's very
own agony is being reflected in the boundlessness of the regular world. The
notice of "Sunkoshi Nadi" and "Ukali jyan ko tyo eklo bara"
(The lone mountain way of life) attaches the artist's close to home insight to
the bigger world around him, it are general and ageless to propose that
individual battles.
The regular world, in this specific circumstance, goes about
as both a shelter and a sign of the certain section of time. The waterway
streams paying little heed to human feelings, and the mountains stand tall,
unaffected by the battles of life. This duality mirrors the center pressure in
the tune — the synchronous sensation of being important for something bigger
while likewise feeling little and immaterial notwithstanding profound agony.
The General Allure of "Aakasaima Chil Ho Ki Besara"
One reason "Aakasaima Chil Ho Ki Besara" resounds
so profoundly with audience members is its all inclusiveness. While the tune is
written in Nepali and mirrors the social encounters of the vocalist, the topics
of affection, misfortune, and the quest for significance are widespread.
Whether one is encountering misfortune, the passing of a friend or family
member, or essentially the bafflement that accompanies life, the tune offers a
space for reflection and profound delivery.
The tune likewise offers a feeling of comfort, as though to
say that it is OK to feel lost or dubious on occasion. Life is loaded with
temporariness, and feelings, regardless of how overpowering, will breathe easy.
The verses offer both an admonition and a solace: love might be transient, yet
it is as yet worth encountering, regardless of whether just briefly.
Determination: A Tune for the Spirit
"Aakasaima Chil Ho Ki Besara" by Mahesh Thulung is
a delightful and genuinely rich piece of music that addresses the core of human
life. Through its reminiscent verses and calming tune, the melody catches the
brief idea of affection and life. It advises us that while we may not
necessarily in all cases have command over our feelings or the course of our
lives, the experience of affection and misfortune makes us human.
Mahesh Thulung's sythesis, alongside his genuine execution,
makes a tune that is both profoundly private and generally interesting.
"Aakasaima Chil Ho Ki Besara" stays a demonstration of his melodic
ability and his capacity to interface with audience members on a profound
level, having a never-ending impact on any individual who hears it.
