Twin Melodies: Class 9 English Chapter 6 Hinglish mein

6.1 Padhne se pehle: strings aur sayings

Pichhli baar suna hua koi wedding band, bhajan ya film song yaad karo. Usmein kahin na kahin koi string zaroor gunj rahi hogi. Yeh unit do tarah se music ke baare mein hai: ek chhota play ek young violinist ke baare mein jo ek naye tarah ka music try karna chahti hai, aur ek poem ki music ek listener ke liye kya karta hai.

Har stringed instrument basically ek hi tarah kaam karta hai. Ek tight string vibrate karti hai, aur ek khokhla body jise resonator kehte hain, us vibration ko itna loud bana deta hai ki hum sun sakein. Fark sirf yeh hai ki player string ko kaise hilata hai: use pluck karke, uspar bow chala kar ya use strike karke (Fig. 6.1).

Tumhari textbook aath stringed instruments ki pictures se shuru hoti hai jinke naam batane hain. Naam batate hue unhe in teen families mein baanto. Violin, jo play mein Shruti ka instrument hai, bowed hai, aur North Indian folk aur classical music ki sarangi bhi. Sitar, sarod, veena, guitar, mandolin aur banjo plucked hain. Kashmir ka santoor halke wooden mallets ki jodi se struck kiya jaata hai.

Play mein roz ke idioms bhare pade hain. Idiom words ka aisa group hai jiska matlab alag-alag words ke matlab se different hota hai. Bite the bullet ka bullets se koi lena-dena nahi: iska matlab hai kisi mushkil cheez ka himmat se saamna karna. Kuch phrases apne literal matlab ke kaafi kareeb hote hain. Wearing a look of distress ka bas matlab hai ki tumhara chehra dikhata hai ki tum pareshaan ho, jabki throw a party sirf verb throw udhaar leta hai.

6.2 Play se milo

Twin Melodies teen acts ka ek chhota play hai, jise Mitra Phukan ne likha hai. Woh Guwahati ki writer hain jo English mein likhti hain. Woh ek classical vocalist bhi hain, aur unka novel A Monsoon of Music musicians ki zindagi ke baare mein hai. Yeh andar ki jaankari is play mein saaf dikhti hai.

Play perform karne ke liye likha jaata hai, isliye woh story se alag tarah padha jaata hai. Har speech se pehle likha naam batata hai ki kaun bol raha hai. Brackets mein likhe words, jinhe stage directions kehte hain, actors ko batate hain ki kaise move karna ya bolna hai. Koi narrator nahi hota: logon ke baare mein tumhe sirf unki baaton aur kaamon se pata chalta hai.

Play do tarah ke music par ghoomta hai. Hindustani classical music North India ki classical tradition hai. Yeh ragas par bana hai: har raga notes ka ek set hai, jismein rules hote hain ki melody kaise chal sakti hai, aur uska apna ek mood hota hai. Performance aksar ek aalaap se shuru hoti hai, yaani rhythm shuru hone se pehle raga ka dheema, khula vistaar. Indo-Western fusion aise Indian elements ko Western instruments, harmonies aur beats ke saath milata hai.

Act I aur III Iqbal ke ghar par hote hain, jahan group rehearse karta hai. Act II dinner ke baad Sharma family ke dining room mein hota hai. Town ka apna newspaper hai, jo play ki shuruaat mein Shruti ki tareef karta hai.

6.3 Play, act by act

Play teen acts mein chalta hai: ek secret, ek clash aur ek surprise (Fig. 6.3). Pehle har act apni textbook mein padho, phir yahan ki summary se check karo ki tumne theek samjha.

6.3.1 Act I: Ek secret rehearsal

Parda music ke sabse loud moment par uthta hai. Chaar dost Iqbal ke room mein ek fusion piece khatam kar rahe hain. Room saada sa hai: ek rack, kitabon se lada ek table aur do mahaan Indian flute players ke posters. Iqbal flute bajata hai, Avinash tabla, Peter keyboard aur Shruti violin. Saamaan samette hue Peter session se khush hai, lekin Shruti pareshaan dikhti hai.

Iqbal local newspaper lehraata hai, jisne pichhli shaam Shruti ke apne famous father ke saath hue concert ki tareef ki hai. Ladke use chhedte hain ki woh ab celebrity hai aur unhe party deni padegi, aur Peter ek silly rhyme bana deta hai. Shruti mushkil se koi reaction deti hai. Jab woh har baar aur zor se uska naam pukaarte hain, tab jaakar woh present mein lautti hai.

Avinash turant problem samajh jaata hai: Nabin ko concert ke baare mein abhi bhi kuch nahi pata. Shruti ek dilemma mein phansi hai. Woh yeh naya music try karna chahti hai, lekin woh apne father se pyaar karti hai aur nahi chahti ki unhe lage ki woh unki baaton ko nazarandaaz karti hai. Nabin ke liye Hindustani classical music har doosre music se upar hai, aur Western tunes bajata violin us instrument ki beizzati hogi. Isliye woh yeh baat taalti rehti hai.

Uske dost use bolne ke liye kehte hain. Avinash kehta hai ki chup rehne se baat aur bigad rahi hai, aur zyaada se zyaada use daant padegi. Iqbal use tasalli deta hai aur use hansane ke liye apni roz ki daant par mazaak karta hai. Unki samajhdaari aur humour ka mel kaam karta hai: Shruti thaan leti hai ki usi raat dinner par woh apne father se baat karegi.

• Newspaper ki tareef dikhati hai ki Shruti pehle se ek respected classical performer hai, isliye use apni reputation aur ek famous father ka bhi dhyaan rakhna hai.
• Ladkon ke mazaak ke dauraan uski chuppi dikhati hai ki secret uspar kitna bhaari pad raha hai.
• Uski explanation uska dilemma saamne laati hai: ek taraf father ke liye pyaar aur respect, doosri taraf kuch naya explore karne ki chaah. Woh rebel nahi kar rahi; woh unka aashirwaad chahti hai.
• Doston ki salaah sachchi dosti dikhati hai: woh mazaak karte hain, lekin use sach bolne ki taraf bhi dhakelte hain.

6.3.2 Act II: Dinner table par mushkil

Sharma family ka dinner khatam ho chuka hai. Jab parents table saaf kar rahe hain, Shruti abhi bhi apni plate ke saamne baithi hai, sochon mein kahin door khoyi hui. Dono parents use bina khaaye dosa par chhedte hain, aur Leela mazaak mein taana maarti hai ki asal mein kiske dose behtar hain. Yeh garm, hansta-khelta mood aage aane wale clash ko aur tez bana deta hai.

Shruti ghabraate hue ek concert ki baat chhedti hai. Nabin sakht ho jaate hain aur uske explain karne se pehle hi mana kar dete hain. Woh chhah mahine mein sirf ek performance ki ijaazat dete hain, kyunki unka maanna hai ki baar-baar stage par aane se artist ki keemat ghat jaati hai aur stage se zyaada practice zaroori hai. Group show unhe aur bhi bura lagta hai, kyunki unhe lagta hai ki bahut saare players ke beech soloist ka character kho jaata hai.

Fusion word sunte hi ek bhaari chuppi chha jaati hai. Apni hi beti aur shishya se bahut niraash Nabin kehte hain ki aise music ke baare mein unhe jo kehna tha, woh keh chuke hain. Shruti unse guzarish karti hai ki faisla karne se pehle ek rehearsal dekh lein, lekin woh is baat ka mazaak udaate hain ki ‘phoo’ music ko rehearse karne ki zaroorat bhi hai, aur room se chale jaate hain.

Mother ke saath akeli reh gayi Shruti ko father ki peeth peechhe kaam karne ke liye daant padti hai, saath mein uski mysterious ‘practice classes’ par tez taana bhi. Woh apni galti maanti hai aur pareshaan hai ki band uske bina perform nahi kar paayega. Woh promise karti hai ki ab kuch nahi chhupayegi, aur Leela use sone bhej deti hai.

• Dinner ke mazaak ek pyaar bhari, hansmukh family dikhate hain, isliye yeh behas un logon ke beech hai jo ek doosre ki parwaah karte hain, dushmanon ke beech nahi.
• Nabin ka rule unka discipline dikhata hai. Woh proverb familiarity breeds contempt quote karte hain: jab koi cheez bahut aam ho jaati hai, to log uski keemat karna chhod dete hain.
• Unki chuppi aur mazaak dikhate hain ki unhe fusion par kitna gehra avishwaas hai. Unke liye yeh shor hai, art nahi.
• Leela ki daant sahi hai lekin sakht nahi. Woh music se zyaada secrecy se naraaz hain, jo ishaara karta hai ki aage chal kar woh madad kar sakti hain.

6.3.3 Act III: Surprise audience

Shruti Iqbal ke ghar pahunchti hai, us rehearsal ke liye jise woh apni aakhri samajh rahi hai. Woh apni news bata paaye, usse pehle hi ladke jaldi se practice shuru kar dete hain. Ek aside mein, yaani aisi baat jo audience sunti hai lekin baaki characters nahi, woh apna plan batati hai: jis piece se use pyaar hai use ek aakhri baar bajana, aur phir unhe bata dena ki woh group chhod rahi hai.

Beech mein uske parents chupchaap aa jaate hain aur bina kisi ki nazar mein aaye dekhte hain. Bar by bar music Nabin ka dil jeet leta hai, yahan tak ki unka pair taal dene lagta hai. Aakhir mein woh muskurate hue taaliyaan shuru karte hain, aur Shruti hairaan reh jaati hai. Woh dil se kiye gaye playing ki tareef karte hain aur Shruti se kehte hain ki woh poore samay raga ke prati sachchi rahi. Leela mazaak karti hain ki ‘practice sessions’ ne saaf taur par kaam kiya hai, aur Nabin group ko regular practice ke liye behtar equipment wala music room offer karte hain.

Jab baaki log mime mein rehearse karte hain, yaani bina awaaz ke move karte hain, Shruti apne parents ko ek taraf le jaati hai. Woh unhe thanks kehti hai aur promise karti hai ki fusion bajane se woh apne art ko lekar kabhi laaparwaah nahi hogi. Nabin yeh thanks Leela ki taraf badha dete hain: unhone hi unhe unki apni jawaani yaad dilayi.

Leela ek aisi history batati hain jo Shruti ko kabhi pata nahi thi. Nabin ki family ek sakht tradition ke classical singers thi. Jab young Nabin ne violin chuna, jo instrument tab tak Indian classical music ne accept nahi kiya tha, to unke father ne ise dhokha maana. Saalon ki mehnat ne us ‘betrayal’ ko ek shaandaar career mein badal diya. Yeh yaad aane par Nabin apni galti maante hain: Indian music kabhi khatre mein nahi tha, aur na hi beti ke saath unka rishta. Har bay ki apni hawa hone wali ek kahaavat quote karke woh group ko aashirwaad dete hain aur unka hausla badhane ka promise karte hain. Play Shruti ke apne parents ko gale lagane ke saath khatam hota hai.

• Parents ka secret visit turning point hai: Nabin aakhir mein apne assumptions se nahi, apne kaanon se judge karte hain.
• Fusion ke andar ka raga Nabin ke darr ka jawaab hai. Shruti ne classical music nahi chhoda; woh use nayi jagahon tak le ja rahi hai.
• Leela ki story dikhati hai ki history khud ko dohraati hai: jis bete ne violin ke liye family ki singing tradition chhodi, ab uski beti uski tradition se aage kadam rakh rahi hai.
• Nabin ki kahaavat, “each bay, its own wind”, ka matlab hai ki har insaan alag forces se chalta hai, isliye koi ek rule sab par fit nahi hota.

6.4 Characters, themes aur title

Ek achha play do levels par kaam karta hai: kya hota hai, aur uska matlab kya hai. Yeh notes play par long answers likhne mein tumhari madad karenge.

Title ka matlab

Title ki ek se zyaada layers hain. Pehli, yeh khud music ko describe karta hai: fusion mein Indian classical aur Western traditions saath bajti hain, jaise do melodies ek piece mein buni hon. Doosri, yeh do zindagiyon ki taraf ishaara karta hai jo ek doosre ko echo karti hain (Fig. 6.4). Saalon pehle Nabin ne violin uthane ke liye apni family ki singing tradition se bahar kadam rakha tha; ab Shruti fusion bajane ke liye unki classical tradition se bahar kadam rakhti hai. Pata chalta hai ki father aur beti ek generation ke fark se himmat ki ek hi tune baja rahe hain. Teesri, end tak khud family phir se harmony mein aa jaati hai.

Themes

• Tradition aur modernity. Nabin classical music ko ek pure cheez ki tarah bachate hain; young group use naye sounds ke saath milata hai. Play kisi ek side ko nahi chunta. Yeh suggest karta hai ki tradition tab zinda rehti hai jab woh naye forms se mil sake, jaise raga fusion piece ke andar bhi bacha rehta hai.
• Generation gap. Parents aur bachche aksar music ko alag tarah sunte hain kyunki woh alag sounds ke saath bade hue. Yeh gap tab bharta hai jab Nabin door se judge karne ke bajaaye sach mein sunte hain.
• Family ke prati duty aur personal passion. Shruti ka conflict obedience banaam rebellion nahi hai. Woh apne passion ko follow karna aur father ki respect bhi bachaye rakhna chahti hai, isiliye use itni mushkil hoti hai ki baat kaise kare.
• Honesty. Secrecy ('practice classes') mushkil ko aur badhati hai; khuli baatcheet, jiske liye uske dost aur mother hausla badhate hain, use suljhaati hai.
• Friendship aur diversity. Band alag backgrounds ke young logon aur alag traditions ke instruments ko saath laata hai: flute aur tabla, keyboard aur violin ke saath. Unki harmony play ke is message ko dikhati hai ki differences ghul-mil sakte hain.

Sabse zyaada Nabin badalte hain. Shuruaat mein woh ek aise judge hain jo music sunna bhi nahi chahte, use shor keh kar mazaak udaate hain aur chale jaate hain. End mein woh sunte hain, tareef karte hain, madad offer karte hain aur maante hain ki woh galat the. Unhe badalne wali cheezein hain: khud music, jo raga ki aatma bachaye rakhta hai, Leela ka unhe unka past yaad dilana, aur Shruti ke liye unka pyaar.

Dost aur authority. Teeno ladke badon ka saamna karne ko alag tarah dekhte hain. Avinash practical hai: sabse bura nateeja ek daant hai, isliye bol do. Iqbal darr ko roz daant khaane ke mazaak mein badal deta hai, phir bhi uski salaah narm aur bharose wali hai. Peter group ko focused rakhta hai aur Shruti ke faisle ka hausla badhata hai. Teeno maante hain ki chhupane se honesty behtar hai.

Kya ending convincing hai? Kuch readers ko yeh badlaav jaldi lagta hai: ek rehearsal saalon ke vishwaas ko badal deta hai. Doosre dhyaan dilate hain ki iski taiyaari achhi tarah ki gayi hai: Act II mein Leela ki narmi, Nabin ki apni history aur Shruti ka asli hunar, sab ise believable banate hain. Exam mein dono mein se koi bhi view marks dilata hai, agar tum use play ke events se support karo.

6.5 Context mein vocabulary aur structures

Play ke language work mein ek dramatic device, asli bolchaal ki chhoti awaazein, music words, kaam ke phrases, aur exclamations ko report karna shaamil hai.

6.5.1 Aside

Act III mein Shruti group chhodne ka apna plan audience ko batati hai, jabki uske dost theek uske bagal mein khade hain. Stage direction ise (Aside) mark karti hai. Dost ise nahi sunte; sirf hum sunte hain.

Aside ek saath kai kaam karta hai. Yeh dikhata hai ki character asal mein kya sochta ya mehsoos karta hai. Yeh us character aur audience ke beech seedha connection banata hai. Aur yeh audience ko kuch aisa batata hai jo baaki characters nahi jaante, jisse suspense banta hai. Jab koi character stage par akela ho aur lambi speech de, to use soliloquy kehte hain; aside chhota hota hai aur doosron ki maujoodgi mein bola jaata hai.

6.5.2 Non-lexical fillers

Asli baatcheet chhoti-chhoti awaazon se bhari hoti hai jo proper words nahi hain: um, er, hmm. Inhe non-lexical fillers kehte hain. Bolne wale inhe sochte waqt pause bharne, koi feeling dikhane ya dhyaan kheenchne ke liye use karte hain. Playwrights inhe scripts mein daalte hain taaki dialogue natural lage. Play mein Iqbal newspaper padhne se pehle dikhawe wala ahem karke gala saaf karta hai, aur dinner par apni request shuru karte hue Shruti er par atak jaati hai.

6.5.3 Music ki duniya ke words

Note ek fixed pitch par ek single musical sound hai. Notes kai tarah se milte hain, aur sound ke har feature ke liye English mein ek exact word hai (Fig. 6.5). Crescendo (bolo kri-SHEN-doh), jisse play shuru hota hai, loudness ka dheere-dheere badhna hai.

6.5.4 Context mein phrases

Play ke kuch phrases ke matlab situation se samajh mein aa jaate hain. Har naya example padho aur dekho ki phrase kaise kaam karta hai.

6.5.5 Exclamations aur reported speech

Play ki kai lines exclamatory sentences hain. Yeh surprise, khushi, tareef ya dukh jaisi koi strong feeling dikhate hain, aur exclamation mark par khatam hote hain. Yeh aksar What ya How se, ya Wow!, Bravo! ya Alas! jaise kisi interjection se shuru hote hain.

Declarative (assertive) sentence shaanti se koi baat batata hai: The music is very soulful. Interrogative sentence sawaal poochhta hai, aur imperative sentence order deta hai ya request karta hai. Exclamation ko statement mein badalne ke liye matlab wahi rakho lekin exclamation hata do:

1. Interjection (Wow, Oh, Wah) aur exclamation mark hata do.
2. What a …! ya How …! ko very ya great ke saath ek saade statement mein badlo: What a lovely tune! ban jaata hai It is a very lovely tune.
3. Jab tum ise report karo, to said ki jagah aisa reporting verb use karo jo feeling dikhaye (exclaimed with joy, exclaimed in surprise, applauded), aur quotation marks hata do.

Example. “Wow! We have finally finished the mural!” said Zoya. → Zoya exclaimed with joy that they had finally finished the mural. Interjection aur marks hat jaate hain, said ban jaata hai exclaimed with joy, we ban jaata hai they, aur have finished peeche khisak kar had finished ho jaata hai.

6.6 Listening aur speaking

6.6.1 Suno aur respond karo: yazh

Tumhari textbook ka listening task yazh (lagbhag yaazh bolo) ke baare mein hai, jo ek ancient Tamil harp hai; recording tumhare teacher ke paas hai. Extra practice ke liye kisi partner se yeh chhota talk zor se padhne ko kaho, aur tum notes banao. Pehle khud mat padhna.

6.6.2 Stress aur intonation

Jab tum play ki koi line bolte ho, to tum kaise bolte ho yeh utna hi zaroori hai jitna ki tum kya bolte ho. Stress kisi word par extra zor hai: hum use thoda loud, lamba aur upar bolte hain, aur stress ki jagah badalne se matlab badal jaata hai. Intonation poore sentence mein awaaz ka utaar-chadhaav hai, jo yakeen, shak, surprise ya feeling dikhata hai (Fig. 6.7).

Ek sentence ko chaar jagah stress ke saath bolo: I didn't break the violin. I par stress do, to matlab hai kisi aur ne toda. Didn't par stress do, to tum pakke se inkaar karte ho. Break par stress do, to ishaara hai ki tumne uske saath kuch aur kiya. Violin par stress do, to ishaara hai ki kuch aur toota.

Ab play se teen aur lines chuno. Bolne se pehle tay karo ki character kya mehsoos karta hai, kaun sa word woh feeling uthata hai, aur awaaz upar jaani chahiye ya neeche. Unhe ek partner ko padh kar sunao aur poochho ki unhe kaun si feeling sunai di.

6.7 Play script likhna

Tumhari textbook ka writing task chaar logon ke groups ko ek story ki shuruaat ko chhote play script mein badalne ko kehta hai. Yahan dekho script kaise kaam karti hai (Fig. 6.8), phir ek practice prompt aur ek model.

1. Pehle plan karo. Ek rough draft likho: kaun kya chahta hai, raaste mein kya rukaavat hai, aur end kaise hota hai.
2. Characters aur setting se shuru karo: characters ki list, har ek ke baare mein kuch words, aur scene ka chhota description.
3. Speaker ka naam, phir colon: TENZIN: aur uske baad words. Inverted commas ki zaroorat nahi.
4. Brackets mein stage directions actors ko batate hain ki kaise move karna ya bolna hai: (nervously), (getting up).
5. Aside use karo jab kisi character ko audience ke saath koi secret soch share karni ho: (Aside).
6. Natural speech ke liye fillers aur ellipsis use karo: Er … there's something. Ellipsis (…) pause ya dheere-dheere thamti awaaz ko mark karta hai.
7. Speeches chhoti rakho. Asli log beech mein bolte hain, mazaak karte hain aur hichkichaate hain.

6.8 Text se aage seekhna

Play ke brackets wale words ko phir se dekho, jaise woh directions jo batate hain ki Iqbal Shruti ka naam thoda loud pukaarta hai aur Avinash bahut loud. Script mein inverted commas ki zaroorat nahi, kyunki speaker ka naam aur colon pehle se batate hain ki kaun bol raha hai. Colon naam ko words se alag karta hai. Brackets mein stage directions hote hain, jo wahi kaam karte hain jo story mein reporting verb karta hai (he shouted, she whispered). Yeh actor ko tareeka, tone ya action batate hain, aur kabhi zor se bole nahi jaate.

Factories se bahut pehle, log apne aas-paas ugne ya rehne wali cheezon se music banate the (Fig. 6.9). Indigenous instruments nature ke saath yeh rishta bachaye rakhte hain: khokhla bamboo flute ban jaata hai, sookha gourd ektara ka sound box ban jaata hai, dhol jaise drums par animal hide kheencha jaata hai, aur temples aur tyohaaron par shankh bajaya jaata hai. Assam mein Bihu ke dauraan bajne wala pepa bhains ke seeng se banta hai.

Aage padhne ke liye. Film-maker aur playwright Sai Paranjpye ki Rigmarole and Other Plays (Puffin, 2008) mein bachchon ke liye teen mazedaar, satirical plays hain. Doston ke saath parts baant kar ek play zor se padho.

6.9 A Friend Found in Music: poem

Bryanna T. Perkins ki yeh chhoti poem ek lyric hai: aisi poem jismein speaker apni feelings share karti hai. Poet ki zindagi ke baare mein zyaada kuch publish nahi hua, isliye hum poem par hi focus karte hain. Ismein chaar-chaar lines ke teen stanzas hain, aur words Music is baar-baar lautte hain, har baar ek nayi picture ke saath ki uske liye music ka kya matlab hai.

Poem metaphors par bani hai: speaker ke liye music sirf ocean jaisa nahi hai, woh seedha ocean hai (Fig. 6.10). Poem apni textbook mein padho, phir neeche ke notes use karo.

Stanza by stanza

Stanza 1: ek kheench aur ek beat. Speaker music ko do roop deti hai. Pehle yeh ek vishaal ocean hai, lekin narm, jo use samundar ke andar nahi, balki zameen ki safety ki taraf le jaata hai. Phir yeh ek beat hai jo use sabse gehre level par hila deta hai. Verb moves do tarah kaam karta hai: rhythm body ko jhoomne par majboor karta hai, aur dil ko bhi chhoota hai.

Stanza 2: udaas dinon ki dawa. Yahan music ilaaj ban jaata hai. Jab woh udaas hoti hai (“feel blue” ka matlab hai low feel karna), music uska mood upar uthata hai aur use mushkil waqt se nikalne ki taakat deta hai. Tone shukriya bhara hai: music aisi cheez hai jis par woh nirbhar hai, sirf enjoy karne wali cheez nahi.

Stanza 3: dost jo saath rehta hai. Woh peeche mud kar dekhti hai aur notice karti hai ki uske sabse khush pal mein music hamesha maujood tha. Poem apni sabse garm picture par khatam hoti hai: music ek aisa dost hai jiski use sach mein zaroorat hai, jo tab bhi saath rehta hai jab kisi insaan ko parwaah nahi lagti. Ending mein tasalli bhi hai aur thoda akelapan bhi, ek khaali jagah jise music bharta hai.

6.10 Poem ko appreciate karna

Kisi poem ko appreciate karne ke liye notice karo ki poet kaun se tools use karta hai aur har tool kya karta hai. Table mein main tools ikatthe hain.

Simile like ya as se compare karta hai: Music is like a friend. Metaphor comparing word hata deta hai aur kehta hai ki ek cheez doosri hai. Poem ke metaphors ko similes mein badalne se fark dikhta hai: Music is as deep as the ocean, Music is like medicine for a sad heart, Music is as loyal as a true friend. Metaphors zyaada strong lagte hain kyunki woh music aur jisse uski tulna ho rahi hai, unke beech koi gap nahi chhodte. Kyunki music woh kaam karta hai jo ek insaan karta hai (kheenchna, hilaana, upar uthana), poem personification bhi use karti hai.

Rhyme scheme letters se dikhata hai ki kaun si line endings rhyme karti hain. Pehli ending ko A do, agli nayi sound ko B, aur aise hi aage; jab koi sound lautti hai to wahi letter dobara do. Is poem mein har stanza ki sirf doosri aur chauthi lines rhyme karti hain, isliye har stanza ABCB follow karta hai (Fig. 6.11, jismein hamara apna ek verse hai). Yeh pattern poem ko ek narm, song jaisi sound deta hai, jo music ki poem ke liye bilkul theek hai.

Mood aur tone. Mood soch bhara aur garm hai: speaker shaanti se sochti hai ki music ka uske liye kya matlab raha hai, na mazaak karti hai, na beete waqt ke liye tadapti hai. Tone sachcha aur shukriya bhara hai. Message. Music entertainment se zyaada hai; yeh ek pakka saathi hai jo udaasi mein humein tasalli deta hai aur hamari khushi mein shaamil hota hai. Kyunki lagbhag har kisi ne kabhi low feel kiya hai aur kisi song mein sukoon paaya hai, poem ki appeal universal hai: yeh har umar aur har desh ke readers se baat karti hai.

Speaker kaun hai? Poem shuru se end tak I, me aur my use karti hai, aur feelings personal hain, isliye hum speaker ko khud poet maante hain.

6.11 Context mein vocabulary

6.11.1 Feelings ke words

Poem feelings ke liye roz ke phrases use karti hai: feeling blue negative hai (udaasi), jabki lifting someone's spirits aur cheerful hona positive hain (khushi). English mein khushi aur dukh ke alag-alag shades ke liye bahut saare words hain, aur exact word chunne se tumhari writing aur sharp hoti hai.

6.11.2 Phrasal verbs

Stanza 2 ke end mein speaker kehti hai ki music use “pull through” karne mein madad karta hai: kisi mushkil waqt se bach nikalna ya use paar karna. Na pull (kisi cheez ko apni taraf kheenchna) aur na through (ek taraf se doosri taraf) akele yeh matlab dete hain. Phrasal verb ek verb aur ek chhota word hota hai, yaani ek adverb ya preposition jise particle kehte hain, jo milkar ek naya matlab banate hain.

Ek verb se kai phrasal verbs ban sakte hain. Move akele ka matlab hai jagah badalna, aur iska matlab kisi ki feelings ko chhoona bhi ho sakta hai (the song moved me), jaise stanza 1 mein. Ek particle jodo aur iska matlab phir badal jaata hai (Fig. 6.12).

6.12 Listening, speaking aur writing

6.12.1 Suno aur respond karo: ek conversation

Tumhari textbook ke listening task mein tum pehle guess karte ho, phir sun kar check karte ho. Yahan wahi skill practise karo: quick check ke questions padho aur answers guess karo. Phir do classmates se yeh conversation zor se padhne ko kaho, aur tum book band karke suno.

6.12.2 Speaking: ek role play

Chaar logon ke groups mein ek meeting act karo, is baare mein ki kya ek student ko music classes join karni chahiye. Har koi ek role card leta hai. Poore sentences mein bolo, baat aage badhane ke liye ek doosre se questions poochho, aur discussion se kam se kam ek insaan ka mann badalne do.

• Opinion dena: I feel that …, In my view …
• Agree karna: That's a fair point. I couldn't agree more.
• Politely disagree karna: I see what you mean, but … I'm not so sure about that.
• Manana (persuade karna): What if we tried it for a month? Wouldn't it help if …?
• Poochhna: How would you manage …? Could you explain …?

6.12.3 Writing: ek invitation letter

Tumhari textbook kehti hai ki apne grandparents ko school ke ek music event mein invite karo. Family ko likha informal letter garm aur personal hota hai, lekin phir bhi ek saaf layout follow karta hai (Fig. 6.13).

• Body, part 1: unki sehat ke baare mein poochho aur thodi news share karo.
• Body, part 2: event ka naam, date, time aur venue batao, aur tum kya perform karoge.
• Body, part 3: pyaar se aane ki request karo; agar kaam ka ho to travel plans ka zikr karo.
• Language: first person (I, we) mein likho, unse seedhe baat karo (you), aur ise garm aur personal rakho.

6.13 Text se aage seekhna

India mein music bahut pehle se well-being se juda raha hai. Raga Chikitsa, ek purana Indian text, batata hai ki ragas ko healing ke liye kaise use kiya ja sakta hai. Seventeenth century ka Sangita Sudha, jo Thanjavur ke darbaar mein likha gaya, discuss karta hai ki music hamari emotions par kaise asar karta hai. Aaj trained music therapists medical care ke saath-saath sunna, gaana aur bajana use karke logon ko stress aur dard sambhaalne mein madad karte hain.

Indian classical music apni melodies saat swaras (notes) par banata hai: Sa, Re, Ga, Ma, Pa, Dha aur Ni, jo shadja, rishabha, gandhara, madhyama, panchama, dhaivata aur nishada ke chhote roop hain (Fig. 6.14). Ni ke baad agla Sa series ko phir se shuru karta hai, ek step upar. Ek traditional kahaani har swara ko nature ki kisi awaaz se jodti hai, jaise Sa ko mor se aur Pa ko koel se. Apne music teacher se poochho ki swaras kahan se aaye, aur jaano.

Tumhari textbook unit ko Music se khatam karti hai, jo English poet Walter de la Mare (1873–1956) ki poem hai. Ismein music roz ki duniya ko dhundhla aur aur sundar bana deta hai, use jaadui jeevon se bhar deta hai aur speaker ko aam samay se pare le jaata hai. Dono poems ko compare karo: ek music ko aisa jaadu maanti hai jo duniya badal deta hai, doosri ek wafadaar dost.