Vida Karo: Guitar Chords and Sargam Lesson
Doctorate in World Music, University of Oxford · teaching since 1992. More about the teacher.
Song Credits
- Song: Vida Karo
- Film: Amar Singh Chamkila
- Singers: Arijit Singh, Jonita Gandhi
- Music Composer: A. R. Rahman
- Lyricist: Irshad Kamil
The full video lesson — notation and chords, from the studio's own channel — tap to play, loads only on tap:
Direct link if embed does not load: Vida Karo - Song Notations & Chords Lesson | Arijit Singh | AR Rahman | Amar Singh Chamkila
Structural Overview
Vida Karo is built upon a restrained melodic contour, where emotional intensity is achieved through repetition, subtle variation, and harmonic minimalism rather than overt complexity. Rahman’s compositional language here leans towards modal colouring rather than strict raga exposition, allowing accessibility without abandoning depth.
The melodic line oscillates within a limited range, which makes it particularly suitable for beginner-to-intermediate learners focusing on breath control, phrasing, and tonal stability.
Sargam and Chord Progression
Below is the core teaching transcription adapted for vocal, harmonium, and guitar application:
S Ga ma PaPa MaPa Ga ma DhaDha Pani Dha
W Mainu vida karo Mainu vi-da- karo ji-
C Bb..............Cm7............
S PaDha NiNi NiNiSa' Re'Sa' Sa'NiDhaPa
W A-b-- vida karo--- me-re- yaa--r----
C ......F7..................Bb...Adim.
S Ga ma PaPa MaPa Ga ma DhaDha Pani Dha
W Mainu vida karo Mainu vi-da- karo ji-
C Bb..............Cm7............
S PaDha Ni Ni NiSa' Re'Sa' Sa'
W A-b-- jaana hai-- u--ss- paar
C ......F7.................Bb..
S NiRe' Re'Ga'Ma'Pa' Pa'Re'Ni Re'Sa'
W Tum-- sa-bhi------ saa---f- sa-hi-
C Adim..........F.....................Bb.
S Ni NiPaNi NiSa'Re' Sa'
W Hoon mat-maila------ main
C F7......................Bb..
S NiRe' Re'Ga'Ma'Pa' Ga'Re'Ni Re'Sa'
W Tum-- sa-bhi------ paa---k- ma-gar
C Adim..........F.....................Bb.
S Ni Ni Pa NiNiNiSa'Re' Sa NiDhaPa
W Paap- ka dariya------ main-------
C F7....................Bb.........
S Ga ma PaPa MaPa Ga ma DhaDha Pani Dha
W Mainu vida karo Mainu vi-da- karo ji-
C Bb..............Cm7............
S PaDha NiNi NiNiSa' Re'Sa' Sa'
W A-b-- vida karo--- me-re- yaar
C ......F7..................Bb..Harmonic Interpretation
The harmonic framework revolves primarily around:
- Bb major (tonic centre)
- Cm7 (modal colouration)
- F7 (dominant tension)
- Adim (passing diminished chord for emotional instability)
This progression reflects a semi-classical adaptation into a filmic harmonic language. The use of Adim is particularly important—it introduces a fleeting instability that mirrors the lyrical sentiment of departure and moral conflict.
From a Western theoretical lens, this can be interpreted as a I – ii – V7 movement with chromatic embellishment. From an Indian perspective, it behaves more like a tonal anchor with shifting emotional shades rather than strict functional harmony.
Vocal Approach and Expression
The phrasing demands restraint. There is no place here for excessive ornamentation. Instead:
- Sustain notes with controlled airflow
- Avoid overuse of vibrato
- Focus on meend-like transitions between Ga–Ma and Dha–Ni
- Maintain lyrical clarity
Arijit Singh’s delivery, in particular, is understated—almost confessional rather than performative. That is a useful model for learners.
Guitar Application
For guitarists:
- Use open-position Bb (or barre chord) depending on comfort
- Maintain slow strumming patterns (downstroke emphasis)
- Avoid rhythmic clutter—this song breathes in space
Suggested pattern:
Down - Chuck Up - Up Chuck Up
The silences are structurally important. Do not fill them unnecessarily.
Harmonium and Sargam Practice
For harmonium players and vocalists:
- Practise the Sargam in slow tempo first
- Maintain pitch stability on Ni and Dha (these are expressive pivot notes)
- Use a tanpura or drone if possible to internalise tonal centre
A useful exercise is to loop:
Ga ma Pa Pa Ma Pa Ga ma Dha Dha Pa Ni Dha
and stabilise intonation before moving into lyrics.
Pedagogical Insight
This composition is an excellent study in controlled minimalism. It demonstrates that:
- Emotional depth does not require melodic complexity
- Repetition, when structured, becomes expression
- Harmony can guide feeling without overwhelming melody
For students, this is a corrective against the modern tendency to equate speed and ornamentation with musicality.
Related study
This song is taught as part of the guitar classes and singing classes at Dr Banerjee Music, in the studio in Jalandhar and live online.
- Tanha Tanha Yahan Pe Jeena: Guitar Chord Progression
- Chand Chupa Badal Mein: Guitar, Piano and Singing Lesson
Frequently Asked Questions
How is the Vida Karo notation laid out?
Each phrase carries three aligned rows: S for the sargam, W for the words underneath, and C for the chords. Reading down a column gives you the note, the syllable and the harmony for that exact moment in the phrase.
Why practise with a tanpura or drone?
Because the tonal centre has to live in the ear before the chords make sense. Against a drone, every interval in the melody — and every departure from it — is audible immediately, which is the whole point of internalising the centre.
Can the same notation serve guitar and harmonium?
Yes — that is why it is written in sargam rather than tab. The harmonium player reads the S row directly, the guitarist uses the C row for harmony and the S row for single-line fills, and both work from the same phrase map.
Questions about this lesson? WhatsApp 62800-75157 or drbnrj@gmail.com.