Once Upon A Time: 100 Management Stories by Rajen Jani

OnceUponATimeCover

Description:

This book has one hundred stories on twenty management topics. Each topic has five stories. All the stories are one-page stories.

The twenty management topics are: Customer, Sales, Team, Performance, Work, Quality, Motivation, Training, Conflict, Problem, Anger, Communication, Improvement, Leadership, Success, Relationship, Strategy, Knowledge, Change, and Time.

Rajen Jani’s lucid storytelling style, makes each story admirably touch the relevant management topic, with focus, depth, and intensity.

A must-read for management professionals and short story lovers.

Product Details:
Paperback: 130 pages
Publisher: CreateSpace (March 10, 2014)
Language: English
ISBN-10: 1496156838
ISBN-13: 978-1496156839
Product Dimensions: 8 x 5 x 0.3 inches
Shipping Weight: 7 ounces

Available at bookstores, libraries, and Amazon websites.

Tuning the Tanpura

Generally, a tanpura has 4 strings; however they may be of five, six or seven strings also.

They may be classified as ‘male’ or ‘female’ tanpuras, however there is no fixed classification. Generally, male tanpuras are tuned between C and D, they use lighter gauge strings; whereas female tanpuras are tuned around G or G#, they use heavier gauge strings. However, again there is no fixed rule and it can be tuned to any desired scale or may use any gauge strings.

Another classification may be vocal tanpura (bigger in size) and instrumental tanpura (comparatively smaller in size, usually between 95 to 115 cm in length, 4 or 5 strings, flat neck and wooden resonance box). Again, there is no fixed classification, singers and instrumentalists may perform with instrumental or vocal tanpuras, as per their own liking.

As a rule of thumb, tanpuras are tuned according to the raga for which it is being played. The first string is tuned according to the note predominant in the raga. Again, there is no fixed rule and the first string can be tuned to any desired note, as per the specification of the singer.

For example, in a 4-string tanpura:
1. For raga Bhairava, Yaman, Deshkar, Bhupali, Shankara, etc., where pa is predominant, ma may be omitted in tuning the tanpura. Then the tanpura may be tuned as follows:
pa (mandra saptak. Mandra saptak is also known as kharaj) – first string,
Sa (madhya saptak) – second string,
Sa (madhya saptak) – third string,
sa (mandra saptak) – fourth string.

2. For raga Malkauns, Bageshri, Lalit Pancham, Lalit, etc., where ma is predominant, pa may be omitted in tuning the tanpura. Then the tanpura may be tuned as given below.
ma (shuddha ma in mandra saptak),
Sa (madhya saptak),
Sa (madhya saptak),
sa (mandra saptak).

3. For raga Puriya, Marva, Sohani, Poorvi, etc., where ni is predominant, both ma and pa may be omitted. Then the tanpura may be tuned as follows:
ni (shuddha ni in mandra saptak),
Sa (madhya saptak),
Sa (madhya saptak),
sa (mandra saptak).

Sometimes tanpuras with five or more strings are also used. For five strings, generally the tuning may be:
1. pa (mandra saptak), ni (shuddha ni of mandra saptak), Sa (madhya saptak), Sa (madhya saptak), sa (mandra saptak)
OR
2. ma (shuddha ma of mandra saptak), ni (shuddha ni of mandra saptak), Sa (madhya saptak), Sa (madhya saptak), sa (mandra saptak)

Singers usually sing with two tanpuras, where the first string is tuned to the same pitch but with two different notes on two different tanpuras, as per the dominance of the notes in the ragas or specification of the singer.

Some tanpuras may need to be tuned to scale E (for example accompanying a bansuri recital), for which the best option may be to contact an expert tanpura tuner.

Remember a tanpura is an accompanying instrument. It accompanies the main performing artiste. Therefore, in all performances, the specification of the performing artist, who may be a singer or an instrumentalist, should be eagerly sought, on how to tune the tanpura. Strictly following the specifications of the performing artiste, enables the best tuning for a tanpura.

~O~

Doctor Faustus [Annotated] by Rajen Jani

Doctor Faustus [Annotated] by Rajen Jani§ Exhaustive Annotations
§ Detailed Context
§ Critical Opinions
§ Study Notes

Any admirer of Christopher Marlowe’s “The Tragical History of Doctor Faustus”, quarto 1604, also commonly known as the A-Text, will undoubtedly find Rajen Jani’s “Doctor Faustus [Annotated]” as an indispensable reference material.

Paperback: 216 pages
Publisher: CreateSpace; 1 edition (April 25, 2013)
ISBN/EAN13: 1484146387 / 9781484146385
Page Count: 216
Binding Type: US Trade Paper
Trim Size: 6″ x 9″
Language: English
Color: Black and White
Related Categories: Drama / English, Irish, Scottish, Welsh
Product Dimensions: 9 x 6 x 0.5 inches
Shipping Weight: 13.6 ounces

 

 

 

Few Bollywood Classics

Movie: Shanker Seeta Anusuya
Starring : Anita Guha, Nirupa Roy, Madhumitha, Sulochana, Helen, Shahu Modak, Manhar Desai, Mahipal
Director : Manibhai Vyas
Music Director : Shivram
Singer: Kavi Pradeep

hamne jag ki ajab tasveer dekhi
ek hansta hai dus rote hain
yeh prabhu ki adbhut jaagir dekhi
ek hansta hai dus rote hai
hamne jag ki ajab tasveer dekhi
ek hansta hai dus rote hain

hamein hanste mukhde chaar mile
dukhiyaare chehare hazaar mile
yahaan sukh se sau guni peer dekhi
ek hansta hai dus rote hai
hamne jag ki ajab tasveer dekhi
ek hansta hai dus rote hain

do ek sukhi yahaan laakhon mein
aansu hai karodon aankhon mein
hamne gin gin har taqdeer dekhi
ek hansta hai dus rote hai
hamne jag ki ajab tasveer dekhi
ek hansta hai dus rote hain

kuchh bol prabhu yeh kya maya
tera khel samajh mein na aaya
hamne dekhe mahal re kutir dekhi
ek hansta hai dus rote hai
hamne jag ki ajab tasveer dekhi
ek hansta hai dus rote hain

Movie -Do Aankhen Barah Haath (1957)
Director – V. Shantaram
Singer -Lata Mangeshkar
Lyricist -Bharat Vyas
Music Director -Vasant Desai
Cast – V. Shantaram, sandhya

The film was inspired by the story of an ‘open-prison’ experiment in the princely state of Oundh near Pune, which was recounted by screenwriter G. D. Madgulkar to V. Shantaram. Among several other awards, it was the first Indian film to win a Golden Globe Award. The Hollywood film The Dirty Dozen (1967) appears to have been inspired by this film.

aey maalik tere bande hum
aise hoon hamaare karam
neki par chalen
aur badi se talen
taaki hanste huye nikle dum
aey maalik tere bande ham

badaa kamzor hai aadmi
abhi laakhon hain ismein kami
par tu jo khadaa
hai dayaaloo badaa
teri kirpaa se dharti thami
diyaa toone hamen jab janam
tu hi jhelegaa ham sabke gham
neki par chalen
aur badi se talen
taki hanste huye nikle dum
aey maalik tere bande hum

jab zulmon kaa ho saamnaa
tab tu hi hamen thaamnaa
wo buraayi karen
ham bhalaayi bharen
nahin badle ki ho kaamnaa
badh uthe pyaar kaa har kadam
aur mite bair kaa ye bharam
neki par chalen
aur badi se talen
taaki hanste huye nikle dum
aey maalik tere bande hum

aey maalik tere bande hum
aise hoon hamaare karam
neki par chalen
aur badi se talen
taaki hanste huye nikle dum
aey maalik tere bande ham

yeh andhera ghana chha raha
tera insaan ghabra raha
ho raha bekhabar kuch na ata nazar
sukh ka suraj chupa ja raha
hai teri roshni mein jo dum
jo amavas to kar de poonam
neki par chalen
aur badi se talen
taaki hanste huye nikle dum
aey maalik tere bande ham

jab zulmon kaa ho saamnaa
tab tu hi hamen thaamnaa
wo buraayi karen
ham bhalaayi bharen
nahin badle ki ho kaamnaa
badh uthe pyaar kaa har kadam
aur mite bair kaa ye bharam
neki par chalen
aur badi se talen
taaki hanste huye nikle dum
aey maalik tere bande hum

Volume is a bit low, but audible.

Film: Parinay
Singer: Sharma Bandhu
Music Director: Jaidev

jaise suraj ki garmi se jalate hue tan ko
mil jaaye taruvar ki chhaya
aisa hi sukh mere man ko mila hai
main jabase sharan teri aayaa, mere raam

bhatkaa hua mera man tha koi
mil naa raha tha sahara
leharon se ladati hui naav ko
jaise mil naa raha ho kinara
us ladkhadati hui naav ko jo
kisi ne kinaraa dikhaya
aisa hi sukh mere man ko mila hai
main jabase sharan teri aayaa, mere raam

shital bane aag chadan ke jaisi
raaghav kripaa ho jo teri
ujiyaali punam ki ho jaae ratein
jo thi amaavas adheri
yug-yug se pyaasi marubhumi ne
jaise saavan ka sandesh paaya
aisa hi sukh mere man ko mila hai
main jabase sharan teri aayaa, mere raam

jis raah ki manzil tera milan ho
us par kadam main badhaoun
phulo me khaaro me, patjhad bahaaro me
main na kabhi dagmagaoun
paani ke pyaase ko taqdir ne
jaise ji bhar ke amrit pilaya
aisa hi sukh mere man ko mila hai
main jabase sharan teri aayaa, mere raam

Film: Ankush (1986)
Singers: Pushpa Pagdhare, Sushma Sreshtha
Music: Kuldeep Singh
Lyrics: Abhilash

itni shakti hame dena data
mann ka vishvas kamzor ho na
ham chalen nek raste pe ham se
bhool kar bhi koyi bhool ho na
itni shakti hame dena data
mann ka vishvas kamzor ho na

door agyaan ke hon andhere
tu hame gyaan ki roshni de
har burayi se bachte rahen ham
jitni bhi de bhali jindagi de
bair ho na kisi ka kisi se
bhaavna mann me badle ki ho na
ham chalen nek raste pe ham se
bhool kar bhi koyi bhool ho na
itni shakti hame dena data
mann ka vishvas kamzor ho na

ham na sochen hame kya mila hai
ham ye sochen kiya kya hai arpann
phool khushiyon ke bante sabhi ko
sab ka jeevan hi ban jaye madhuban
apni karunna ka jas tu baha ke
kar de pawan har ek mann ka kona
ham chalen nek raste pe ham se
bhool kar bhi koyi bhool ho na
itni shakti hame dena data
mann ka vishvas kamzor ho na

Song : sainya jhoothon ka bada sartaaj nikla
Movie : Do aakhen barah haath ( 1957)
Singer : Lata Mangeshkar
Lyricist : Bharat Vyas
Music Director :Vasant Desai
Cast : V Shantaram, Sandhya, Ulhas, Babu Rao Pendhalkar, B.M.Vyas, S.K.Singh
Story : G.D. Madgulkar
Producer/Director : V.Shantaram

sainyaa jhoothon kaa badaa sartaaj nikla
mujhe chhod chalaa, mukh mod chalaa
dil tod chalaa badaa dhokhebaaj niklaa
sainyaa jhoothon kaa badaa sartaaj niklaa

chal diyaa zulmi mujhse bahana bana
mere nanhe se dil ko nishana bana
chal diyaa zulmi mujhse bahana bana
mere nanhe se dil ko nishana bana
badaa teekhaa wo
daiyya teekhaa wo teerandaj nikla
mujhe chhod chalaa, mukh mod chalaa
dil tod chalaa badaa dhokhebaaj nikla
sainyaa jhoothon kaa badaa sartaaj nikla

kuchh dinon se piyaa ham se naa bolta
ho ho kuchh dinon se piyaa ham se naa bolta
na hamara ghoonghatwa ka pat kholta
kuchh dinon se piyaa ham se naa bolta
na hamara ghoonghatwa ka pat kholta
is gup-chup ka
is gup-chup ka bhed dekho aaj nikla
mujhe chhod chalaa, mukh mod chalaa
dil tod chalaa badaa dhokhebaaj niklaa
sainyaa jhoothon kaa badaa sartaaj niklaa

main ne ik din jaraa si jo ki masakhari
chala nazaren ghumaake vo gusse bhari
mera chhaila badaa naaraaj nikala
mujhe chhod chalaa, mukh mod chalaa
dil tod chalaa badaa dhokhebaaj niklaa
sainyaa jhoothon kaa badaa sartaaj niklaa

paradesi ki prit badi hoti buri
jaise mithey jahar ki ho mithi chhuri
main to bholi thi vo chaalabaaj nikala
mujhe chhod chalaa, mukh mod chalaa
dil tod chalaa badaa dhokhebaaj niklaa
sainyaa jhoothon kaa badaa sartaaj niklaa

Movie – Navrang (1958)
Singer- Asha Bhonsle,Mahendra Kapoor
Lyricist – Bharat Vyas,
Music Director – C Ramchandra
Cast – Sandhya,Manipal ,Keshav Rao Datey, Vastala Deshmukh,Aaga ,Vandana,Ulhas
Producer/Director – V. Shantaram ( Rajaram Vankudre Shantaram )

aadhaa hai chandrmaa raat aadhi
aadhaa hai chandrmaa raat aadhi
rah na jaaye teri meri baat aadhi, mulaaqaat aadhi
aadhaa hai chandrmaa raat aadhi
rah na jaaye teri meri baat aadhi, mulaaqaat aadhi
aadhaa hai chandrmaa

piyaa aadhi hai pyaar ki bhaashhaa
aadhi rahne do man ki abhilaashhaa
aadhe chhalke nayan aadhe dhalke nayan
aadhi palkon ki bhi hai barsaat aadhi
rah na jaaye teri meri baat aadhi, mulaaqaat aadhi
aadhaa hai chandrmaa

aas kab tak rahegi adhoori
pyaas hogi nahin kyaa ye poori
pyaasaa-pyaasaa pawan pyaasaa-pyaasaa chaman
pyaase taaron ki bhi hai baaraat aadhi
aadhaa hai chandrmaa raat aadhi
rah na jaaye teri meri baat aadhi, mulaaqaat aadhi
aadhaa hai chandrmaa

sur aadhaa hai shyaam ne saadhaa
rahaa raadhaa kaa pyaar bhi aadhaa
sur aadhaa hai shyaam ne saadhaa
rahaa raadhaa kaa pyaar bhi aadhaa
nain aadhe khile honth aadhe hile
rahi man mein milan ki wo baat aadhi
aadhaa hai chandrmaa raat aadhi
rah na jaaye teri meri baat aadhi, mulaaqaat aadhi
aadhaa hai chandrmaa

~O~

 

 

Kavi Pradeepji Interview

World’s Biggest Festival Kumbh Mela

Bena Re – Gujarati Marriage Song

My wife Poonam Jani singing the song live.

બેના રે
સાસરીયે જાતા જો જો પાપણ ના ભીંજાય
દિકરી તો પારકી થાપણ કેહવાય

દિકરી  ને  ગાય  દોરે ત્યાં જાય
દિકરી તો પારકી થાપણ કેહવાય

બેની તારે માથે બાપ નો હાથ હવે નહી ફરાશે
રમતી તી તુ જે ઘરમાં ઍની ભીતે ભીતો રડાશે
વીદાય ની આ વસ્મી વેળા રોકે ના રોકાય
દિકરી તો પારકી થાપણ કેહવાય

તારા પતિ  નો  પડછાયો  થયી રેહજે સદાય સાથે
સોહાગી કંકુ સેંથામાં કંકણ શોભે હાથે
તારી આ વેણી ના ફૂલો કોઈ દી ના કરમાય
દિકરી તો પારકી થાપણ કેહવાય

આમ જૂવો તો આંસુ સઉનુ પાણી જેવું પાણી
સુઃખ  નુ  છે કે દુઃખ નુ એ તો કોઈ શક્યું ના જાણી
રામ કરે સુઃખ તારૂ કોઈ દી નજર્યું ના નજરાય
દિકરી તો પારકી થાપણ કેહવાય

બેના રે
સાસરીયે જાતા જો જો પાપણ ના ભીંજાય
દિકરી તો પારકી થાપણ કેહવાય

~O~