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Shri Krishna Govind Hare Murari Flute Notes – Sargam & Western Notes

Shri Krishna Govind Hare Murari is one of the most cherished and meditative Krishna bhajans in Indian devotional music. This independently prepared flute guide includes lyric-aligned Sargam and Western notations, octave markings, and step-by-step phrasing tips for bamboo flute and bansuri learners.

Published: 2026-09-27Updated: 2026-09-27

Quick Song Information & Flute Specifications

Essential guidance for playing Shri Krishna Govind Hare Murari on bansuri

Difficulty LevelBeginner
Melody TypeDevotional Bhajan / Krishna Chants
Suggested Bansuri / FluteC Medium, E Bass, G Bass, or any comfortable bansuri
Starting Note / SwaraMandra Pa (.P)
Highest Note / SwaraTaar Sa (S')
Recommended Practice SpeedSteady, peaceful, and meditative
Main Practice Challenge: Smooth transitions between Mandra notes (.P .N) and the Taar Sa (S') Antara variation

Notation Symbols & Reading Guide

Understand the specific symbols and octave markings used in this Krishna bhajan notation:

S'higher octave note (Taar Saptak)
S R G M P Dmiddle octave note (Madhya Saptak)
.P .Nlower octave note (Mandra Saptak)
—sustain / hold the note
(R) / (P)grace note (kan-swar) / quick touch
/breathe / breath pause

Shri Krishna Govind Hare Murari Sargam Notes

Bansuri / Indian Flute

Each phrase is detailed below with musical units. Lower dot (.P .N) represents Mandra Saptak (lower octave), and apostrophe (S') represents Taar Saptak (higher octave):

Line 1“Shri Krishna Govinda Hare Murari”
Shri
.P
Krishna
SS
Govinda
SSS
Hare
SR
Murari
S(R)S.N.N—
Sargam line:.P SS SSS SR S(R)S.N.N—

Playing tip:Start gently on Mandra Pa (.P), step firmly to middle Sa (SS), and execute the ornament S(R)S smoothly before landing on sustained Mandra Ni (.N.N—).

Line 2“He Nath Narayan Vasudeva (x2 with Line 1)”
He
R
Nath
RR
Narayan
GP— GR
Vasudeva
GR .NRS
Sargam line:R RR GP— GR GR .NRS

Playing tip:Play Re (R RR) with clean articulation, sustain Pa (GP—) before descending to GR, and resolve smoothly on .NRS. Repeat Lines 1 & 2 together.

Line 3“Pitu Maat Swami Sakha Humare”
Pitu
GM
Maat
PP
Swami
PP
Sakha
PD
Humare
PMGG
Sargam line:GM PP PP PD PMGG

Playing tip:Move gently from Ga-Ma (GM) into middle Pa (PP). Keep your tone calm and conclude the descent sweetly on PMGG.

Line 4“Pitu Maat.. Swami Sakha.. Humare (Antara Variation)”
Pitu
GM
Maat..
(P)NS'NP
Swami
PP—
Sakha..
P(P)D
Humare
PMGG
Sargam line:GM (P)NS'NP PP— P(P)D PMGG

Playing tip:The expressive high peak: Touch Taar Sa (S') with a light, focused embouchure in (P)NS'NP, hold the sustained Pa (PP—), and resolve through PMGG.

Line 5“He Nath Narayan Vasudeva (Concluding Line)”
He
R
Nath
RR
Narayan
GP— GR
Vasudeva
GR .NRS /
Sargam line:R RR GP— GR GR .NRS /

Playing tip:Reiterate the signature devotion hook with warm, meditative breath and finish cleanly on Sa with a peaceful breath pause (/).

Continuous Sargam Sheet for Quick Practice

// Shri Krishna Govind Hare Murari - Sargam Notes

.P SS SSS SR S(R)S.N.N—// Shri Krishna Govinda Hare Murari
R RR GP— GR GR .NRS// He Nath Narayan Vasudeva
GM PP PP PD PMGG// Pitu Maat Swami Sakha Humare
GM (P)NS'NP PP— P(P)D PMGG// Pitu Maat.. Swami Sakha.. Humare (Antara Peak)
R RR GP— GR GR .NRS /// He Nath Narayan Vasudeva (Ending)

Western Notes (Reference Key: Sa = C)

Reference Key: C Root

Notation Reference:

Western notes are written with Sa = C for easy reference (where Sa = C, Re = D, Ga = E, Ma = F, Pa = G, Dha = A, Ni = B). You can transpose the melody to match your own flute's natural root key (for example, on an E Bass or G Bass flute, your fingerings for Sa will sound as E or G respectively).

Line 1“Shri Krishna Govinda Hare Murari”
Shri
.G
Krishna
CC
Govinda
CCC
Hare
CD
Murari
C(D)C.B.B—
Western line:.G CC CCC CD C(D)C.B.B—
Line 2“He Nath Narayan Vasudeva (x2 with Line 1)”
He
D
Nath
DD
Narayan
EG— ED
Vasudeva
ED .BCD
Western line:D DD EG— ED ED .BCD
Line 3“Pitu Maat Swami Sakha Humare”
Pitu
EF
Maat
GG
Swami
GG
Sakha
GA
Humare
GFEE
Western line:EF GG GG GA GFEE
Line 4“Pitu Maat.. Swami Sakha.. Humare (Antara Variation)”
Pitu
EF
Maat..
(G)BC'BG
Swami
GG—
Sakha..
G(G)A
Humare
GFEE
Western line:EF (G)BC'BG GG— G(G)A GFEE
Line 5“He Nath Narayan Vasudeva (Concluding Line)”
He
D
Nath
DD
Narayan
EG— ED
Vasudeva
ED .BCD /
Western line:D DD EG— ED ED .BCD /

Continuous Western Notes Sheet

// Shri Krishna Govind Hare Murari - Western Notation

.G CC CCC CD C(D)C.B.B—// Shri Krishna Govinda Hare Murari
D DD EG— ED ED .BCD// He Nath Narayan Vasudeva
EF GG GG GA GFEE// Pitu Maat Swami Sakha Humare
EF (G)BC'BG GG— G(G)A GFEE// Pitu Maat.. Swami Sakha.. Humare (Antara Peak)
D DD EG— ED ED .BCD /// He Nath Narayan Vasudeva (Ending)

Structured Practice Method for Shri Krishna Govind Hare Murari

1

Practice the opening Mandra phrase (.P SS SSS SR S(R)S.N.N—) slowly with a Tanpura drone in Sa-Pa to ensure low note stability.

2

Work on the ornament S(R)S: lightly flicker the Re finger hole without interrupting the breath stream.

3

Practice the Antara leap (P)NS'NP at half speed, ensuring your embouchure narrows smoothly for Taar Sa (S') without blowing harshly.

4

Combine the Mukhda (Lines 1 & 2) and Antara (Lines 3, 4, & 5) in a continuous devotional rhythm.

Common Mistakes to Avoid

•Blowing too aggressively on Mandra Pa (.P), which causes the note to crack into middle Pa
•Rushing through the kan-swar ornament S(R)S rather than playing it as a gentle, graceful touch
•Overblowing on the higher Taar Sa note (S') instead of tightening the lip aperture
•Not sustaining Mandra Ni (.N.N—) and Pa (GP—) for their full duration

Recommended Practice Tools & Guides

Shri Krishna Govind Hare Murari — Flute Notes

Copyright & Attribution Notice: Shri Krishna Govind Hare Murari is a traditional devotional Krishna bhajan. This page contains independently prepared musical notations, fingering cues, and practice guidelines developed solely for educational, spiritual, and flute learning purposes.

Author

About the Author

Written and practice-tested by Aplut, a self-taught bansuri learner practising since 2022. Content is built on direct practice experience and careful research into classical traditions. Because musical lineages and fingering conventions vary, suggestions and corrections are always welcomed via our contact page or at [email protected]. First-hand instrument experience is identified clearly whenever gear is reviewed.