Thursday, December 29, 2022
Tuesday, December 27, 2022
Monday, December 26, 2022
TAMILNADU J.JAYALALITHA MUSIC AND FINE ARTS UNIVERSITY- THE PROPOSAL (2012)
It's been a decade since my proposal (while holding office as Director of music colleges) to the former/late Chief Minister J.Jayalalithaa for an exclusive university in Tamilnadu. The late CM graciously accepted, announced in the 2013 assembly and established Tamilnadu Music and Fine Arts University in 2013, appointing myself as its first Vice Chancellor.
Fine arts (which includes painting, sculpting, all aspects of cinema, ceramics, etc.) was an added bonus from the TN government.
Seated in the car, on my way to Secretariat, I quickly ran through the draft of proposal for university to be presented to Hon'ble CM. I worked tirelessly in gathering information of value in order to support and authenticate my proposal.
Happy at the way the draft turned out I was about to shut the file, but the name of a town in southern Tamilnadu in the concluding paragraph caught my attention. My brows knit in puzzlement. I had never mentioned this town and how on earth has it appeared in my draft?!!
I quickly ran my eyes across the paragraph that mentioned the name of the southern town, famous for its architecture.
The last paragraph ended with an earnest request to establish university in the southern town of Tamilnadu, whereas my original draft appealed for the music university to be established in Chennai, famous for its music season, cultural heritage, veteran musicians and music organisations.
Stunned, I realized that my original draft was removed and inserted in its place was another page containing the name of the southern town of TN, obviously in the last minute. I suddenly understood how it happened. I had no time to speculate or even absorb the shocking knowledge of whodunit. The car entered Secretariat. I quickly took the pen from my handbag and striking out the name of the southern town I wrote CHENNAI in bold letters.
That marked the beginning of my job as VC which apart from effectiveness in administration and education demanded an equal or more special talent in vigilance at all levels.
Tuesday, December 13, 2022
Ghantasala 100
1969- In Vijaya Garden studios, during the recording of super hit song 'Raanika nee kosam sakhi...' with Ghantasala Uncle. Music direction by my father, Sri.G.Aswathama for the telugu movie, "MAYANI MAMATHA".
(I am reposting the above as a tribute to the centenary year of the legendary Ghantasala garu).
Wednesday, December 7, 2022
Posture and pressure points
Posture of the Veena player determines and fixes the connecting points between the player's spine and fingertips. The player's posture fixes the angle in which he is holding the Veena. The direction and angle of his left hand, as he runs his forefinger and middle finger over the Veena frets is rooted in his posture. Any shift in the player's posture means an entire realignment of the angle of his left hand and the pressure points on his forefinger and middle finger.
Why is it important to maintain a steady and fixed posture? There are nerves connecting the fingers and spine. Pressure points created by constant abrasion of the left hand forefinger and middle finger on the Veena strings serve to establish contact between the Veena naadam (resonance) and the life-force energy within himself. By altering the posture the pressure points of the fingertips are shifted and attempts to contact one's life-force energy is suspended midway. New pressure points by shifting angle of posture means starting one's spiritual journey from the scratch.
By maintaining the same posture on the same Veena (same Veena because Veena comes in different sizes like width of the Veena dandi, height of the Veena, size of the kudam etc. which would again create different pressure points on the player's left hand fingertips despite player maintaining same posture) throughout one's Veena sadhana, the Veena player unites with his Veena to create his identity through the naadam of his Veena. On the spiritual side, his kundalini is awakened to progress upwards.
Tuesday, November 22, 2022
Thursday, November 17, 2022
Viswaguru Sri Vidyaranya Swami Jayanthi-19/11/2022
MY CONCEPT AND PRODUCTION
Recorded this in late 90s. Music by A.K. Rishal Sai and vocal rendered by Malladi Brothers. My humble contribution in the form of concept and production of the above. I was supposed to play the Veena in this recording, in the last-minute Madhya Pradesh government invited me to receive the prestigious Kumara Gandharva award. Hence missed out playing in this recording.
Monday, November 7, 2022
Saraswathi Stotram For A New Life
MAHARSHI YAGNAVALKYA
Yagnavalkya Maharshi's Saraswathi Stotram is a great boon for academic/art/music aspirants. The great sage in His Yagnavalkya Smrithi has stated as follows-" VEENAA VAADANA THATHVAGNYAHA SHRUTHI JAATHI VISHAARADAHA, THAALAGNYASHCHAAPRAYAASENA MOKSHA MAARGAM NIYACCHATHI." The sloka outwardly states that 'the one who is proficient in Veena, has sound knowledge of rhythm (thala) and shruthis (subtle quartertones/microtones) effortlessly attains liberation.' The great sage actually would have hinted at the science behind such expertise- of the union of breath (prana) of the player and the resonance (nada) of Veena which leads to self-knowledge.The Saraswathi Stotram was composed by Maharshi Yagnavalkya by the Grace of Sun God. This Stotram is mostly meant for people who have discontinued their academic/art pursuits due to the inexplicable ways of destiny. Whether it's a vocalist with a golden voice waking up one fine morning to find his/her voice gone, an instrumentalist whose hands have suddenly lost their magic or a brilliant student who has lost the power of concentration.
Chanting of Yagnavalkya's Saraswathi Stotram grants a fresh lease of life to unfortunate academic and artistic aspirants by reviving and enhancing their skills.
The Stotram's phala-sruthi states that even a foolish person becomes wise and intelligent by chanting this stotram without break for one year.
YAGNAVALKYA MAHARSHI'S SARASWATHI STOTRAM-
1. NARAYANA UVAACHA-
VAAGDEVATHAAYAAHA STHAVANAM SHROOYATHAAMSARVAKAAMADAM
MAHAAMUNIRYAAGNAVALKYO YENA THUSHTAAVA THAAM PURAA.
2. GURUSHAAPAACCHA SA MUNIRHATHAVIDYO BABHOOVAHA
THADAA JAGAAMA DUHKHAARTHO RAVISSTHAANAM CHA PUNYADAM.
3. SAMPRAAPYA THAPASAA SOORYAM KONAARKEY DRUSHTIGOCHAREY
THUSHTAAVA SOORYAM SHOKEYNA RURODA SA PUNAHPUNAHA.
4. SOORYASTHAM PAATAYAAMAASA VEDAVEDAANGAMEESHVARAHA
UVAACHA STHUHI VAAGDEYVEEM BHAKTHAACHA SMRUTHIHEYTHAVEY.
5. THAMITHYUKTHVAA DEENANAATHO HYAANTHARDDAANAM JAGAAMA SAHA
MUNIHI SNAATHVAA CHA THUSHTAAVA BHAKTHINAMRAATHMAKANDHARAHA.
6. YAAGNAVALKYA UVAACHA-
KRUPAA KURU JAGANMAATHARMAAMEYVAM HATHATHEYJASAM
GURUSHAAPATHSMRUTHIBBRASHTAM VIDYAAHEENAM CHA DUHKHITHAM.
7. GNAANAM DEYHI SMRUTHIM DEYHI VIDYAAM VIDYAADHIDEYVATHEY
PRATHISHTAAM KAVITHAAM DEYHI SHAKTHIM SISHYA PRABODHIKAAM.
8. GRANTHA-NIRMITHI-SHAKTHIMCHA SUSISHYAM SUPRATHISTITHAM
PRATHIBHAAM SATHSABHAAYAAM CHA VICHAARAKSHAMATHAAM SHUBHAAM.
9. LUPTHAM SARVAM DEIVAVASHAANNAVIBHOOTHAM PUNAH KURU
YATHAAMKURAM BHASMANI CHA KAROTHI DEVATHAA PUNAHA.
10. BRAHMASWAROOPA PARAMAA JYOTHIROOPAA SANAATHANEE
SARVAVIDYAADHIDEVEE YAA THASYAI VAANYAI NAMO NAMAHA.
11. YAYAA VINAA JAGATH SARVAM SHASHVATHJEEVANMRUTHAM SADAA
GNAANAADHIDEVEE YAA THASYAI SARASWATHYAI NAMO NAMAHA.
12. YAYAA VINAA JAGATH SARVAM MOOKAMUNMATTHAVATHSADAA
VAAGADHISHTAATHRUDEVEE YAA THASYAI VAANYAI NAMO NAMAHA.
13. HIMACHANDANAKUNDENDUKUMUDAAMBHOJASAMNIBHAA
VARNAADHIDEVEE YAA THASYAI CHAAKSHARAAYAI NAMO NAMAHA.
14. VISARGA BINDUMAATHRAANAAM YADADHISHTAANAMEYVA CHA
ITHTHAM THVAM GEEYASEY SADBHIRBHAARATHYAI THEY NAMO NAMAHA.
15. YAYAA VINAATHRA SANKHYAATHAA SANKHYAAM KARTHUM NA SHAKYATHEY
KAALA SANKHYAASWAROOPAA YAA THASYAI DEVYAI NAMO NAMAHA.
16. VYAAKHYAASWAROOPAA YAA DEVEE VYAAKHYAADHISHTAATHRUDEVATHAA
BHRAMASIDDHAANTHAROOPAA YAA THASYAI DEVYAI NAMO NAMAHA.
17. SMRUTHISHAKTHIRGNAANASHAKTHIRBUDDHISHAKTHISWAROOPINI
PRATHIBHAA KALPANAA SHAKTHIRYAACHA THASYAI NAMO NAMAHA.
18. SANATHKUMAARO BRAHMAANAM GNAANAM PRAPACCHA YATHRA VAI
BABHOOVA JADAVATH SOPI SIDDHAANTHAM KARTHUMAKSHAMAHA.
19. THADAA JAGAAMA BHAGAVAANAATHMAA SHREE KRISHNA EESHWARAHA
UVAACHA SA CHA THAM STHOUHI VAANEEMISHTAAM PRAJAAPATHEY.
20. SA CHA THUSHTAAVA THVAAM BRAHMAA CHAAGNYAYAA PARAMAATHMANAHA
CHAKAARA THVATHPRASAADEYNA THADAA SIDDHAANTHAMUTTHAMAM.
21. YADAAPYANANTHAM PRAPACCHA GNAANAMEYKAM VASUNDHARAA
BABHOOVA MOOKAVATH SOPI SIDDHAANTHAM KARTHUMAKSHAMAHA.
22. THADAA THVAAM CHA SA THUSHTAAVA SANTHRASTHAHA KASHYAPAAGNYAYAA
THATHASHCHAKAARA SIDDHAANTHAM NIRMALAM BHRAMABHANJANAM.
23. VYAASAHA PURAANASOOTHRAM CHA PAPRUCCHA VAALMIKIM YADAA
MOUNEEBHOOTHAHA SA SASMAARA THVAAMEYVA JAGADAMBIKAAM.
24. THADAA CHAKAARA SIDDHAANTHAM THVADVAREYNA MUNEESHWARAHA
SAMPRAAPYA NIRMALAM GNAANAM PRAMAADADHWAMSAKAARANAM.
25. PURAANA SOOTHRAM SHRUTHVAA SA VYAASAHA KRISHNAKALODBHAVAHA
THVAAM SISHEYVEY CHA DADHYOU THAM SHATHAVARSHAM CHA PUSHKAREY.
26. THADAA THVATTHO VARAM PRAAPYA SATH KAVEENDRO BABHOOVAHA
THADAA VEDAVIBHAAGAM CHA PURAANAANI CHA CHAKAARA SAHA.
27. YADAA MAHENDREY PRAPACCHA THATHVAGNAANAM SADAASHIVAM
KSHANAM THVAAMEYVA SANCHINTHYA THASYAI DADHOU VIBHUHU.
28. PRAPACCHA SHABDASHAASTHRAM CHA MAHEYNDRASHCHA BRUHASPATHIM
DIVYAM VARSHASAHASRAM CHA SA THVAAM DADHYOU CHA PUSHKAREY.
29. THADAA THVATTHO VARAM PRAAPYA DIVYAVARSHASAHASRAKAM
UVAACHA SHABDASHAASTHRAM CHA THADARTHAM CHA SUREYSHVARAM.
30. ADHYAAPITHAASHCHA YAIHI SISHYAAHA YAIRADHEETHAM MUNEESHVARAIHI
THEY CHA THVAAM PARISANCHINTHYA PRAVARTHANTHEY SUREYSHVARIM.
31. THVAM SAMSTHUTHAA POOJITHAA CHA MUNEENDRAIRMANUMAANAVAIHI
DAITHREYNDRAISHCHA SURAISHCHAAPI BRAHMAVISHNUSHIVAADIBHIHI.
32. JADEEBHOOTHAHA SAHASRAASYAHA PANCHAVAKTHRASHCHATHURMUKHAHA
YAAM STHOTHUM KIMAHAM STHOUMI THAAMEYKAASYENA MAANAVAHA
33. ITHYUKTHVAA YAAGNYAVALKYASHCHA BHAKTHINAMRAATHMAKANDHARAHA
PRANANAAMA NIRAAHAARO RURODA CHA MUHURMUHUHU.
34. THADAA JYOTHIHI SWAROOPAA SAA THEYNA DRUSHTAAPYUVAACHA THAM
SUKAVEENDRO BHAVEYTHYUKTHVAA VAIKUNTHAM CHA JAGAAMA HA.
35. YAAGNYAVALKYAKRUTHAM VAANEESTHOTHRAMEYTHATTHU YAHA PATEYTH
SA KAVEENDRO MAHAAVAAGMEE BRUHASPATHISAMO BHAVEYTH.
36. MAHAAMOORKHASHCHA DURMEYDHAA VARSHAMEYKA YADAA PATEYTH
SA PANDITHSHCHA MEYDHAAVEE SUKAVISHCHA BHAVEYD DHRUVAM.
(ITHI SHREE BRAHMAVAIVARTHATHEY MAHAAPURAANEY PRAKRUTHIKHANDEY NAARADANAARAAYANASAMVAADEY YAAGNYAVALKYOTHA VAANEE STHAVANAM NAAMA PANCHAMODHYAAHA.
ITHI SHRIMAD DEVEE BHAAGAVATHEY MAHAAPURAANEY NAVAMASKANDHEY YAAGNYAVALKYAKRUTHAM SARASWATHEESTHOTHRAVARNANAM NAAMA PANCHAMODHYAAYAHA.)
Saturday, October 22, 2022
Wahan Kaun Hai Tera......(The Truth Of Life....)
S.D.Burman, whose compositions forever tug at heart strings. Ultimate aesthetics in this song composed and sung by the legend himself...
Saturday, September 17, 2022
Tuesday, September 13, 2022
జలజాసన హరి హరులు - ఇ. గాయత్రి, పి. బి. శ్రీనివాస్ గార్లు (JALAJAASANA HARIHARULU- VOCALS BY SRI.P.B.SRINIVAS, E.GAYATHRI-1981 recording)
COURTESY- YouTube channel of VENKATA RAMANA
Saturday, August 27, 2022
VEENA UNPLUGGED
DANCE LITTLE LADY DANCE. Karaoke for my granddaughters Shreeya and Shreeja (song features them in the video). (PLEASE USE PHONES)
Monday, August 15, 2022
Smt. KALPAGAM SWAMINATHAN
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With Teacher
Smt. Kalpagam Swaminathan (15th August 1922-6th April 2011), reverentially and fondly known as 'Teacher' strictly adhered to Veena Sampradayam. Her weighty gamakas (swara oscillations) are uncompromising, inimitable and unparalleled. A Veena Yogini who played the original acoustic Saraswathi Veena.
Sound effects and amplification tactics in the absence of Veena nadham (as in the case of guitar-sounding Electric Veenas with magnetic strings) were of no use to her. Her powerful Veena playing projected her ethereal Veena nadham by means of the confluence of her prana and the wood grains of Veena's Jack wood. She believed in hard work as demanded only by traditional acoustic Veenas.
The field of Veena today has original acoustic Veenas as well as electric Veenas coming under the common name of Veena. The layman is unaware of the difference as the acoustic and electric Veenas look alike. I have posted extensively explaining the significant features and dynamics that define traditional acoustic Veena in the modern field of Veena.
A quick run through-
ACOUSTIC VEENA (TRADITIONAL)-
1.Player experiences spiritual bliss.
2.Listeners experience the same spiritual bliss invoked by the player.
3.Meant for spiritual upliftment.
4.Resonance emanates from the combined energies of the player and grains in the Jack wood of the Veena.
5.Jack wood which is divine transmits the energy derived from the gut region of the player.
6.Soft sounding instrument.
7.The gut effort of player taps kundalini (prana shakti or lifeforce energy) of the player.
8. Rendition of nuances (kuril-short and nedil-long) which are the most important features in Veena. These features bring out the aesthetics and tap the shatchakras of the player.
9.Taps the inner voice of the player.
10.Difficult to play and master.
11.Very few acoustic players today.
ELECTRIC VEENA (MODERN)
1.Looks deceptively like the traditional Veena.
2.Entirely controlled by specially designed contact mike/pickup and mike system.
3.Requires magnetic strings.
4.The divine and vital Jack wood is rejected by a specially designed pickup/ contact mike.
5.Specially designed pickup/ contact mike contacts only magnetic strings.
6.Easy to play and extremely popular among Veena aspirants due to minimal efforts in playing.
7. Instrument provides facilities like speed and techniques designed for playing to the gallery.
8. Nuances (kuril, nedil) are partially audible, that too in rare cases.
9.The gut effort of the player is very less.
10.The sound ultimately produced is no match to an acoustic Veena in terms of divinity and aesthetics.
11. Produces an alien tone sounding like a mix of guitar-mandolin- sitar and gottuvadhyam.
12. Absence of Veena nadham.
Thursday, August 11, 2022
The Journey- (Concluding Part-3)
It is a pleasant coincidence that the concluding part of The Journey is being published only 4 days ahead of our country's Independence Day. My travel experience described in the 3 parts of 'The Journey' is all about peace and harmony. This incident stays in my mind forever.
Turning towards me the attendant assured me, "Don't worry, I will remove the trash bin from the compartment and request him to dispose off trash in the outside bin near the toilet".
The attendant smiled widely at the tall man. Talking in Hindi he asked, "Saab, hope you are comfortable and everything is fine."
The tall man patted the attendant's shoulder and nodded.
"Saab, please don't throw food inside the compartment. Madam is vegetarian."
The tall man's brows knit in confusion. The attendant added in broken English, "Madam... no meat... only vegetables eating."
The tall man looked surprised and nodded at me.
The attendant added, "Saab, tomorrow breakfast, what will you have?"
The tall man looked at me while addressing the attendant, "Madam food, same same."
The attendant asked in surprise, "No eggs Sir?"
"No. Same Madam breakfast."
I did not mean to stop him from eating whatever he wanted. Frustrated at being mistaken I addressed the attendant, "I didn't mean to object to nonveg at all. Only to disposing off food inside the compartment!!".
The attendant was not listening to me, focusing on the tall man he asked curiously, "Idli, pongal and vada Sir??!!"
The tall man gestured elaborately with his hands conveying that the names of the dishes didn't matter. He added, "I happy vegetables eat."
I asserted, "No, no, please have your usual breakfast, I don't mind if you eat nonveg."
The tall man stared and I turned to the attendant to translate.
The attendant told me in Tamil, "Please leave it. He wants to have vegetarian, let him taste our idli, pongal and vada".
"Oh, okay", I said in a resigned tone feeling like a spoilsport.
Feeling guilty, I became tongue-tied.
As I turned towards my berth the tall man started talking to the attendant. His Urdu mixed Hindi was heavily accented. In between I saw him gesturing towards me. Irked, I mentally decided not to talk anymore and as usual put up with whatever happens as God's will.
The attendant looked at me hesitantly. Irritated with the attendant for miscommunicating I ignored him and sat on my berth.
Approaching me the attendant said in an embarrassed voice, "Saab is saying that you seem very frightened of him. He's asking you not to worry. He says you are his sister and he will take care of you in the journey."
I was taken aback. Pleasantly surprised and touched by the sentiments expressed by the tall man I felt my mood lighten.
Embarrassed, I smiled shyly at the tall man, "Oh... thank you so much!!" He nodded seriously.
With the weight lifted off my chest, I thanked the attendant and prepared to lie down on my berth.
Picking up the trash bin the attendant walked out, pulling the shutter-door behind him. The tall man immediately pushed the shutter-door open, looking at me pointedly. His action of pulling the door open was deliberate, as though assertively conveying to me that he meant no harm. The compartment door remained open all through the night.
Finding it difficult to unwind and quieten the Veena inside myself I was awake for a long time.
I was surprised to see the tall man climb up the opposite top berth even though the opposite lower berth was reserved for him.
Feeling totally at ease I drifted off into an uneasy slumber.
Something made me wake up with a start and I found myself gazing at the tall man struggling with the most exotic colorful mini-carpet in the alleyway outside the compartment. The carpet looked like a yoga mat. Baffled and fully awake I wondered what he was trying to do in the dead of the night. My wristwatch was somewhere and I didn't know what time it was.
Somehow feeling responsible to help him I got up and walked to the door.
He glanced at me and continued his efforts in spreading the mini-carpet. The carpet was wide and too big to fit in the size of the alleyway.
It suddenly struck me that he wanted to pray!! Was it early morning? My head felt fuzzy from inadequate sleep and tiredness.
Feeling at ease with him, I cleared my throat, "Excuse me, do you want to pray?"
He looked at me blankly.
I showed in action by raising both hands like how Muslims pray.
He nodded.
With both hands I gestured towards the inside of the compartment, "Please pray inside." I combined my statement with the action of praying.
He understood me clearly. He stood for a moment, pondering doubtfully.
I understood the reason for his hesitation.
Looking at him directly I told in a firm voice," No, No, please pray inside the compartment. Main bahut khush!!" I added in broken Hindi. I combined with elaborate hand gestures to make myself understood correctly.
Not waiting for his answer I bent down to pick up the other end of his carpet. He immediately stopped me with his hands and somehow preferred to pick up the carpet himself. I backed away realizing and respecting the fact that probably non-Muslims are not allowed to touch their prayer mat. Before picking up the carpet he bowed to me. When he lifted his head he was actually beaming. His smile reached his kohl-lined eyes that lit up his entire face.
I felt rewarded by his hearty smile. Feeling odd to bow down in return, I folded my hands in a gesture of 'Namasthe' , smiling back at him heartily. Spreading the mini-carpet between the berths he started his prayers first in a standing posture and bending several times. I pulled my legs up to sit cross-legged, sitting close to the window. Bending sideways I pulled the loosely hanging bedcovers so that they did not come in way of his prayers. Fascinated by his chanting in low tone I noticed that he sat down in Vajrasana. Marveling and admiring him for his steadfast devotion to God, I closed my eyes to meditate on the stillness of Kailash Mansarovar in my heart region. As we prayed together, somewhere between sleep and wakeful state I felt an enormous sense of peace descend on me, filling me and spilling out of me to spread its wings, encapsulating the compartment in its golden glow.
Wednesday, August 10, 2022
The Journey- (Part-2)
While being usually adept at shutting off my surroundings, I now struggled to ignore the tall co-passenger's presence. His aura was compelling.
As I opened my food packet the train started its movement slowly. I sat facing the window to stare blindly at the dark glass while eating. I was unable to relish the food and more focused on finishing the food quickly so that I could rest my aching body on the berth.
A strong aroma assaulted my nostrils and I turned quickly to glance over my shoulder. The tall passenger was uninhibitedly opening an assortment of steel boxes containing greasy nonvegetarian food. Quickly turning back to my food I managed a couple of more mouthfuls before wrapping up the remaining food. Getting up abruptly I took the wrapped remains of my food to dispose it into the garbage bin near the toilet outside.
The tall passenger gestured wildly at me. My heartrate quickened and I stared at him not understanding what he was trying to convey. He kept pointing towards something. I turned towards the direction he was pointing and found a small plastic dust bin near the foot of my berth. He was showing me the bin where I must trash my food.
I was appalled! What a place for a garbage bin!!I couldn't imagine disposing off food right inside the coach, even if the garbage bin had a lid. I shook my head at my co-passenger, softening my refusal with a smile. I heard him mutter something in a strange dialect as I walked out.
Trashing the remains of my food in the garbage bin next to the toilet I looked around for the attendant. He was nowhere in sight. I dragged my feet back to the compartment. The tall man was engrossed in eating.
I reached out for the bedding that was neatly folded and kept on the top berth. Painfully aware of his scrutiny I started to prepare my bed and laid down self-consciously. As I lifted my legs up to lie down the tall man got up from the opposite seat and walked towards my berth. My heart stopped for a second and resumed its beating at a wild rate. He held one of the steel dabbas in his hand and bent to empty the remnants of his food into the garbage bin placed at the foot of my berth. Alarmed, I sprang up to a sitting position, pulling the bed covers close to me.
"Excuse me, excuse me!" my voice screeched in protest.
He turned to give me a piercing look.
My voice trembled in nervousness, "Please... don't drop the food here!!" I appealed.
His brows knit and he looked confused.
I pointed towards the doorway, "There's another garbage bin outside." I told him nervously.
He shook his head as though he didn't understand me.
I quickly got up and went in search of the attendant.
Finding the attendant who was a Tamilian, I explained my predicament to him. "Look, I don't understand his language and obviously even he's not able to understand my English, and my Hindi is bad. I don't want the food to be trashed inside the compartment please. I have to spend 2 nights and one whole day in the compartment." I added hesitatingly, "It's difficult for me to spend so much time close to a trash can full of stale food, that too nonveg. Please explain to him." I requested.
The attendant smiled, "Oh, avaraa?! He's from Afganisthan settled somewhere in North. He knows little Hindi. You can tell him."
"No no, you please tell him." I requested.
By the time the attendant and myself entered the compartment the tall man was pouring all the remains of his food into the garbage bin near my berth. Horrified, I stood frozen, staring helplessly.
(TO BE CONTINUED......)
Sunday, August 7, 2022
The Journey- (Part-1)
NEW DELHI 2001-
The young man asked eagerly, "Ma'am, Bhairavi is janya of which ragam?"
"Ma'am what train are you taking?" The organization's secretary asked in an urgent tone.
Both questions came from opposite sides of the dias.
I was packing my Veena, my hands worked at a feverish pace, tying the knots of Veena cover strings. My heart thumped, I had to rush to the railway station. Audience surrounded the stage and were trying to get my attention, talking and asking questions- all at the same time.
"Tamilnadu Express." I answered the young man.
He looked baffled. "I asked about Bhairavi...."
My right hand searched blindly for the other end of the string of the outer covering of my Veena.
I had to pull my thoughts back from Tamilnadu Express to Bhairavi. "Oh, sorry, mmmm...Natabhairavi."
I smiled at him and everybody around the stage. I was touched by their affection and regards, and felt bad that I couldn't have a leisurely conversation with them.
"Ma'am what are the ragas you played in ragamalika thanam? At least name 2 of them." A very shy looking Mami bent towards me and asked in a soft voice.
"Aloo Paratha and Kadai vegetable, is that your order Ma'am?" The organization's volunteer who was going to accompany me to the railway station was in charge of the food packets.
I waved at him in affirmation.
I turned towards the Mami, my hands almost completing the job of tying all the knots of the Veena cover.
I smiled at her, "I can't really remember. I played vivadi ragas. Kosalam, Neethimathi and Kanthamani were among the ragas."
"Thank you" she said softly. "Can I touch your hand?" She added shyly.
Without answering her I grasped her hand tightly with both my hands.
Suddenly bending her head she kissed my hand. Touched, I looked at her not knowing how to respond. I thought her eyes were wet when she lifted her head.
She turned and left abruptly.
Feeling moved, I momentarily felt a sense of vacuum.
Packing completed I announced to the people standing around the dias with folded hands, "Thank you all so much! Please excuse me, I have to catch a train. I have to rush. I am sorry but I don't have time to sign autographs or answer anymore questions. Truly sorry!!"
As I was about to get up one more book and pen were thrust under my chin.
"You can't say no to signing this autograph, because it's a voucher."
The organization's treasurer laughed aloud at his own joke.
I managed a smile.
After signing the voucher I got down swiftly from the stage, the heaviness of my sweaty silk saree weighing me down. In the greenroom I quickly changed into a light cotton saree and almost ran to the waiting car. After quickly checking that all my bags and Veena were intact I got inside the car and heaved a sigh.
NEW DELHI RAILWAY STATION.
I played Kanthamani as the main raga in my concert that evening. Improvised 'sangatis' of Kanthamani and the resonance of my Veena rang in my ears. Waves of tiredness and hunger washed over me.
Feeling ravenous I remembered the packet of aloo paratha and kadai vegetable snuggled in the side of my handbag. I reached inside the bag for the food packet. The coupe-compartment door creaked open and my hand stopped midway. A hefty, Afghani-looking man entered the coach sideways. He stepped in with his head bent due to his extraordinary height.
Dressed in a pathani suit, a shawl-like garment rolled and tied around his head and pointed boots, he was extremely tall....much more than 6 feet. His light eyes were kohl-lined , his hair a sun-burnt brown and his leathery skin was fair. Bad at guessing ages I wondered if he was in his 30s. His hefty and towering personality seemed to reduce the size of the compartment even further. I instantly felt dwarfed and overwhelmed. I pondered about asking the TC to shift me to a coach with ladies.
The railway porter who brought the tall man's luggage placed them under the berth with great care. The tall man turned to look around the compartment, his gaze briefly touching my face.
He looked stern, his kohl-lined eyes narrowing when he found my Veena perched on the top berth. He quickly looked at me and back at the instrument and again back at me. My heart pounded in my chest and I wondered nervously if he had an objection to my Veena. He looked so formidable!
He said nothing but continued to stare at me unabashedly, his kohl-lined eyes fierce in its gaze. His open curiosity made me squirm and I shifted uneasily.
To my utter relief the ticket collector entered the compartment in his black coat and a pad in hand. He sat next to me, "Ticket madam".
Eager and at the same time not wanting to hurt or offend the tall man, I requested the TC in a hushed voice "Please, excuse me, can I change my berth to where there are ladies? Please??"
The tall man in his gruff voice cut me short. Addressing the TC loudly in a certain dialect with a splattering of familiar Urdu words he wanted to know why the berths seemed narrow in size and about the pantry service.
Struggling to understand what he asked and after replying to him the TC turned towards me again, "Sorry madam, all compartments are full, all families. I can't ask them."
My heart sunk low.
I gulped nervously. "Ok".
The Jain meal in my bag lost its appeal. After some thought I felt it would be better to finish my meal quickly and go to sleep.
(TO BE CONTINUED....)
Wednesday, August 3, 2022
OORU KUTCHERI
Ignoring the ringing mobile in my hand, I checked my handbag for the umpteenth time to see if the train ticket was there.
My husband reminded me about my water bottle.
Wiping the sweat on my brow I replied, "Ya, I think the watchman has kept the bottle in the car."
The mobile rang again, it was my mother.
"Amma, emiti? what?"
My mother asked in a hurried tone, "Gayathri, neellu theesukunnavaa? Trainlo emi thintaavu?" (Did you take drinking water? What will you eat in the train?"
"Amma, don't worry, we are eating in Woodlands on the way to the station."
"Be careful, call me as soon as you settle in the train."
I assured her, " Okay Amma, I will...."
She cut me short, " Did you pack contact mike, Veena strings and ..."
I was impatient, "Amma, please... I have to rush, I will call as soon as I board the train, I promise!"
My mother continued, "Don't forget to call."
"No, I won't Amma."
"Saab bula rahe hain." It was the watchman. My husband was in the car, waiting.
Hurrying to the pooja room I quickly prostrated to Sri Vidyaranya Swami's idol. I stood in front of the Venkateswara Swami's photo and Ranganatha Swami's photo to pray quickly.
Rushing out of the house I pulled the door shut.
My tension started to build at the thought of carrying my Veena safely through the crowds in Chennai Railway Station.
Getting inside the car I declared to my husband, " I won't accept anymore outstation concerts. Simply fed up, can't take this tension of carrying the instrument in all that crowd. Had enough!!"
My husband drawled, "This is what you tell me everytime you go on a concert tour."
I sighed and mentally started counting the hours till I get back home. 40 hours including 2 nights in train!
Thank God, it was not a long trip.
Our car entered Central station. I anxiously eyed the chaotic scenario inside the railway station. Amidst loud horns and chattering of people, vehicles were lining up near the entrance to drop off passengers and luggage.
Getting out of the car I looked around for a porter who seemed qualified to carry a divine instrument like Veena. Health issues did not allow myself or my husband to carry weights, that too walk while carrying them.
"Hurry up, what are you looking for?" My husband asked impatiently.
"I am searching for a pious-looking porter. I can't give my Veena to someone who's reeking of tobacco or alcohol!!"
My husband said cynically, "That'll be a wild goose chase."
Fortunately I found a smiling and cultured porter who fitted my bill.
I instructed the porter anxiously on the method of carrying the instrument.
"Don't worry Madam, I know how to carry a guitar as well as a suitcase in both hands."
Momentarily confused I realized that he referred to my Veena as guitar.
Not bothering to correct him I exclaimed, " No no you can't carry both the Veena and suitcase together!!"
I scanned the surroundings for another porter to carry part of the luggage.
The porter highhandedly bent down to pick up the Veena while holding the suitcase in his other hand.
I was horrified. "NO!!" I shrieked and tried to grab the Veena from the porter.
"Ayyo Madam, why are you so worried?! Last week I carried a guitar for an old lady along with 2 suitcases, all by myself. I know how to carry, just leave it to me."
Watching helplessly I winced as he bent down to whisk the instrument in a swift movement. He placed the trunk of the Veena above his right shoulder.
Trying not to shriek I said firmly, "You shouldn't place the instrument on top of your shoulder!! You either carry the instrument the way I tell you, otherwise give it to me."
The porter grudgingly agreed to following my instructions.
Out of the corner of my eye I noticed my husband smiling at my demonstration on how a Veena has to be carried.
Walking through the crowd, the porter tried to chat me up.
"Do you play guitar on TV?"
I hated chatting about myself or my profession.
"No" I replied tightly and tried to move away in order to avoid further conversation.
Unmindful of my hint the porter adjusted his gait towards me. He asked persistently, "Do you act in TV serials?"
Suppressing my irritation I answered, "No". Trying to divert his attention I added, "Be careful, don't drop the instrument."
The porter replied carelessly, "Don't worry Madam, I won't drop it."
After some thoughtful silence the porter turned towards me. His eyes mirrored his surprise and pleasure as he exclaimed, "I know who you are!! You are a TV newsreader! I think I saw you reading news last week!!"
I smiled in reply, allowing him to think he was right, at least that would put an end to his questions about me.
The porter placed my luggage on the platform.
My eyes were inevitably drawn to a huge hoarding displaying a collage of passport size photographs of petty thieves and criminals. The caption in bold letters read-"BEWARE OF PICKPOCKETS AND THIEVES." I was suddenly reminded of my mridanga-vidwan-friend's joke about it and I controlled bubbles of laughter. This vidwan is well known for his sense of humor. A well-known music organization in the city advertised their performing artists' passport size photos in a similar fashion (layout and design etc). The mridanga vidwan joked that due to the similarity the posters could create confusion in general public, (between the music organsation's advt. and the hoarding of petty thieves displayed by the railway station).
The mobile rang again. Chuckling to myself I reached for my mobile.
It was the same mridanga vidwan on the other end. He asked, "Hi, are you in the station?"
"Yes, where are you?"
"On my way to station. I just now finished a concert."
"Oh, what about your dinner?" I asked.
He replied that his wife had packed some food.
"Oh, good, we will meet tomorrow morning."
"Okay, Bye!"
I replied, "Bye, good night!"
As we walked towards our compartment another porter passing our way teased my porter, "Hey, when did you start playing sitar?"
My porter retorted, "It's not a sitar, it's a guitar!"
Rolling my eyes upwards I paused near the name chart to search for my name and berth number.
After settling the luggage and paying the porter my husband got down from the train.
He came to the window and pressed my hand, "Call me as soon as you reach. Take care, bye."
I waved bye to him. He suddenly made a U-turn and came back to the window, a smile on his lips.
"Emiti?" I asked him curiously.
Laughing, he said, "Some people asked me for my autograph."
My eyes widened in surprise, "Why?!"
"I think they saw me carry your Veena in between. Probably because of that they thought I am the artist. And you know what??!! They thought I am Chittibabu!"
Wednesday, July 13, 2022
The Proud Guru
2. Anjani Srinivasan with her Guru in Hyderabad.
The greatest reward or Guru Dakshina any student could give her Guru is fulfillment and joy. Anjani Srinivasan did just that!
One of the most talented and foremost students of my mother and a natural on Veena, Anjani, conducted and performed a commendable show of the signature tune of Sri Mata Sangeetha Vidyalaya (composed by my father) along with her brilliant sister, mridangam vidushi Aswini and talented foreign musicians in Sweden last week. 
Anjani, starting her Veena lessons as a child.
Saturday, July 9, 2022
UPLIFTING (Dr. Balamuralikrishna - Hari Rasama Vihari- Hindolam- Annamacharya)
ENTHRALLING HINDOLAM PRECEDING THE ENCHANTING COMPOSITION (composed by Dr. Balamuralikrishna) OF ANNAMACHARYA. RENDERED BY GAANA GANDHARVA DR. BALAMURALIKRISHNAGARU.
Thursday, June 30, 2022
NIDHICHAALA SUKHAMA (Triple fusion of Western, Hindusthani and Carnatic Music)
SONG-NIDHICHAALA SUKHAMA
SITAR-USTAD SHAHID PARVEZ
VEENA-MYSELF
TABLA- SRI. VIJAYA GHATE
MRIDANGAM- SRI. R.RAMESH
Teaming with western music and Hindusthani music played outstandingly by Ustad Shahid Parvez on sitar and Sri. Vijay Ghate on tabla, Nidhichaala Sukhama is presented in the form of modern art on the canvas of Carnatic music.
Sri. R.Ramesh, one of the most formidable mridangam vidwans in the field of Carnatic music was my dynamic support.
Mahaganapathim, Himagirithanaye (Triple Fusion of Western, Hindusthani and Carnatic music)
SONGS-MAHAGANAPATHIM, HIMAGIRITHANAYE
SITAR-USTAD SHAHID PARVEZ
VEENA-MYSELF
TABLA-SRI.VIJAY GHATE
MRIDANGAM-SRI.R.RAMESH
The krithis Mahaganapathim in Natta and Himagirithanaye in Suddhadhanyasi projected in an abstract form by combining Hindusthani and Western music.
Recorded in late 90s, this recording was absolutely engrossing and inspiring. I cherish the memory of teaming with experts like Shahidji, Vijay Ghateji and Sri. R.Ramesh.
Wednesday, June 29, 2022
RAREST CONFIGURATION
NAVAGRAHAS
Moon transits from Gemini to Cancer on June 30th at 6.23 PM. Moon remains in Cancer from June 30th evening to July 3rd at 6.30 AM.
The planetary configuration while Moon is in Cancer is extraordinary with 6 planets occupying their own houses. Saturn in Aquarius, Jupiter in Pisces, Mars in Aries, Venus in Taurus, Mercury in Gemini (according to sidereal zodiac) and Moon in Cancer.
Worship of Gods and planets will yield special results.
Tuesday, June 21, 2022
Real World
Want to escape to some hill resort?! Find yourself instantly in a hill resort by keeping off from the MOBile and from getting trapped in interNET. Deactivate whatSAPp which saps pranic energy. Come out of the traffic. Enjoy the serenity and silence away from meaningless forwards, greetings and worse still- wasteful conversations that deepen into controversies...misunderstandings... heart aches.... Choose to look at the real world which is in and around oneself. The amazing gift of God is in and around us. For human beings in 'kaliyuga' addiction to interNET is an added test to the list of attachments to material relations.
Using interNET for anything else other than work, that too for long hours stunts the pranic flow of energy. Derive natural energy from within and surroundings. Nurture the pranic energy to carry forward to an ideal afterlife........
Sunday, June 12, 2022
Wednesday, June 1, 2022
Music and Mind
SOUL-STIRRING VIRUTTAM (TIRUPPUGAZH) BY MY GURU, SRI.T.M.THYAGARAJAN.
Manodharma sangeetham is the spontaneous musical creation of a musician. Manodharma sangeetham is also about bhava-laden rendition of the divine compositions left behind by great yesteryear composers.
Carnatic music is essentially a medium that projects Hindu religion and spirituality through a musical format. The celebrated composer trio Saint Thyagaraja, Sri Mutthuswami Dikshithar and Sri Syamasastri have not only attained moksha through their own compositions, they have also left behind gems of their works for artistes and listeners for the purpose of soul-elevation. Therefore an ideal manodharma springs from a devotion-filled mind.
The beauty of carnatic music lies in its multiple dimensions. It is easily one of world's most intellectual subjects which is essentially soul-elevating.
Soulful manodharma that springs out of a devotional mind has the capacity to elevate not only oneself, but also the listener.
In few instances an experienced performer may pull off a stage performance based on technical grooming. In such cases listeners are in awe of the aritste's larger-than-life-image and charisma acquired through years of fame and success. In these cases staleness of music is accepted with loyalty.
Listeners may be surprised to know that music is all about soul which has an edge over technical expertise.
Inconsistency is one of the many characteristics of a natural musician.
Sunday, May 22, 2022
PLANETS IN FOCUS
PLANET MARS
Five planets stare at Scorpio zodiac sign on the 27th of June, 2022. Scorpio comes under the heavy scrutiny of the 10th aspect of Saturn from its own sign Capricorn, the 9th aspect of Jupiter from its own sign Pisces, the 7th aspect of Venus from its own sign Taurus and Moon from its sign of exaltation Taurus and the 8th aspect of Mars from its own sign Aries (while crossing its 'gandanta' period). It has to be noted that Mars, Jupiter, Venus and Saturn are in their own signs while Moon is in its sign of exaltation during the 5-planets-aspect of Scorpio impacting natives with last pada Visakha, Anuradha and Jyeshta nakshatras. Scorpio which is owned by Mars is strengthened further by the 8th aspect of Mars. The 'gandanta' period of Mars while aspecting Scorpio (with the added burden of Chandrashtama for Scorpio during Mars's 'gandanta') and Mars-Rahu conjunction periods are the durations of concern for Scorpio natives (last pada of Vishakha, Anuradha and Jyeshta natives).
Moon, owing to its short transit moves out from its exaltation in Taurus on 28th June at 5:33 AM releasing Scorpio from its direct glare. From Taurus Moon moves to Gemini, forming the 'Chandrashtama' for Scorpio (Moon in 8th house).
The Mars gandanta period continues from June 27th (as it enters Aswini 1st pada in Aries at 6:00AM). The gandanta of Mars ends at 3:20 degrees in Aries, somewhere between the first and second padas of Aswini in Aries. It's noteworthy that throughout the period of 'gandanta' and the 8th aspect of Mars on Scorpio, this zodiac sign also comes under the heaviness of 'Chandrashtama', which is the transit of Moon in the 8th house (from June 28th 5:33AM onwards to June 30th 6:23PM).
Jupiter's benevolent Grace through its 9th aspect from Pisces and the strong 10th aspect of Saturn from its own house Aquarius provide ample cushioning to Scorpio due to Mars's gandanta 8th aspect (until till Mars crosses the first 3:20 degrees of Aries).
Another point of concern is the close conjunction of Mars and Rahu in the watery Venus-owned Bharani nakshatra in the third week of July 2022. The fiery Mars is aggravated by the shadowy planet Rahu while casting its 8th aspect on Scorpio through its gandanta and Rahu-conjunction transits. Another point to note is that the Sun enters watery Cancer (on July 16th at 11:11PM) which is already under the heavy 4th aspect of Mars influenced by Rahu.
Mars, a yogakaraka planet for Cancer casts its benevolent 4th aspect on Cancer. Points of concern for Cancer natives are Sun's entry into Cancer, Mars's 'gandanta' 4th aspect and Mars-Rahu conjunctions. While Cancer enjoys Jupiter's 5th aspect, Saturn's presence in Aquarius is a bitter reminder of Ashtama Shani.
Mars-Rahu conjunction comes under the heavy 3rd aspect of Saturn from its own sign Aquarius.
Prayers to Lord Narasimha Swami and Lord Subrahmanya Swami offer relief for all, especially for Cancer, Libra and Scorpio natives.
Friday, April 1, 2022
Sunday, February 27, 2022
RETROMAGIC - ACOUSTIC VEENA (MEDLEY OF FILM SONGS)
EXCERPTS FROM A CONCERT FOR A
PRIVATE FUNCTION IN CHENNAI IN 2012. (Please listen with phones for clarity).
PRIVATE FUNCTION IN CHENNAI IN 2012. (Please listen with phones for clarity).
1) KAATRU VELIYIDAI KANNAMMA
2) KALYANA THEN NILA
3) ROJAPOO ADI VANTHATHU
4) KALYANA MALAI
5) ROJAVAI THAALATTUM
6) MOUNAMANA NERAM
7) NAAN THEDUM SEVVANTHI POO
Saturday, February 19, 2022
Karana Shareeram in Karachi
Sunday, February 6, 2022
MAATALLO THENE VAANA JALLULU….
Recorded in early 80s for the album Dasa Geetha Geetha Sandesham. (vocals- Sri P.B.Srinivas and myself).
Release function of the above album in 1983. Sri. P. B. Srinivas and Sri M. S. Reddy
Thursday, February 3, 2022
The Original "Saraswathi" Veena
Earlier I had posted a video of Sri. Sashank Mallya's demonstration of mikes for acoustic and electric Veenas. Here sound engineer Sri. L.Baba Prasad himself has explained how an acoustic Veena is recorded. The Veena Artist who's demonstrating is Sri. Sashank Mallya.
To know the difference between acoustic and electric Veenas kindly go back to Sashank's video where he has demonstrated a magnetic pickup with magnetic strings for an electric Veena.
Decades ago Veenas were recorded using an acoustic mike. Veena Vidwan Late Sri. Raghavan was a respected name in the film industry who had recorded for memorable and hit film songs. As Baby Gayathri I had the honor of sharing acoustic mikes with him for many film songs.
In recent trends electric Veenas are also being recorded (in films/studio recordings) bypassing the usage of acoustic mikes. The pickups of electric Veenas are directly plugged into the recording console, like in the case of electric/bass guitars.
Someone I know asked me, "Just let me know very simply how I can make out the difference between an acoustic Veena and an electric Veena".
I replied, "Close your eyes. It's an electric Veena when the Veena sounds like a guitar, mandolin, shrill like a sitar, or a cross between guitar and gottuvadhyam marked by an unnaturally even tone (various tones fixed by tonal adjustments on the amp). If it has a softer tone with a lilting resonance, an unevenness and a raw quality marked by natural sweetness, then it's an acoustic Veena. Listen carefully, you yourself will understand."
"Then why is it that there are even electric Veenas in the market?!"
"The electric Veena player needs much lesser effort than an acoustic Veena player in bringing out nuances. The acoustic Veena player depends on his energy in handling basic to tough phrases as whatever he plays is drawn from the energy source that is within himself. In the case of an electric Veena player, the player's energy is substituted by the electric energy that supplies ample, even resonance and playing is made simpler and easier, which is why we find so many electric Veena players today."
I added, "And an electric Veena player can never be identified by 'veena nadham' (or lack of it) or by the tonal quality of the Veena he/she's playing. An electric Veena player is identified only through his/her technique, musicianship and repertoire. Whereas an acoustic Veena player can be identified by his/her 'Veena nadham' as his/her playing is due to the source of energy within himself/herself."
Monday, January 24, 2022
VEENA AND MELATONIN (3)
ANANDAAMRUTHAKARSHIHI- AMRITHAVARSHINI (SRI MUTHUSWAMY DIKSHITHAR)
Rendered by Sri. T.M.KRISHNA
AMRITHAVARSHINI (RAGA FOR ACTIVATING SECRETION OF MELATONIN)-Ragas are activated when 'jeeva swaras' (main notes of each raga containing the life or core of the raga) are stimulated through perfect rendition by voice or musical instrument. Veena, a divine instrument and the inner voice of a human being is ideally suited for activating ragas .
Amrithavarshini is popularly known for invoking rains. The name of the raga means Amrith- elixir, Varshini- showers. This raga is most effective in drawing out the elixir from the agna chakra (pineal gland), scientifically known as Melatonin. Activation of the Raga Devatha of Amrithavarshini kindles the secretion of Melatonin. Sri Muthuswamy Dikshithar in His krithi states-ANANDAAMRUTHAKARSHINI- Draws out the bliss giving elixir
AMRITHAVARSHINI- showers of Elixir.
The saint composer hints in the madhyamakalam-"AMRITHESHVARI SALILAM VARSHAYA VARSHAYA VARSHAYA"!
In the real sense Sri. Dikshithar pleads for great showers (Varshaya repeated thrice) of abundant water (elixir) from the pineal gland in his composition, "Anandaamruthakarshini Amrithavarshini."
RAGA THERAPY OF AMRITHAVARSHINI- Rains (macrocosm), activation of melatonin (microcosm), deep sleep, calmness and tranquility of mind.
Sunday, January 23, 2022
VEENA AND MELATONIN (2)
BRAHMA MUHURTHAM-
The agna chakra (pineal gland) secretes the wonder hormone, Melatonin to its maximum measure during the divinely auspicious time of the day called 'Brahma Muhurtham' (Brahma Muhurtham today is between 5:17 AM to 6:05 AM).
Practice of Veena flawlessly by adapting the correct posture during Brahma Muhurtham accelerates the flow of ambrosia.
Saturday, January 22, 2022
SAPTA SWARA- (dd telecast-1989)
ALAMELU MANGA NEE ABHINAVA ROOPAMU (RAGAM- BHAIRAVI, COMPOSED BY SRI TALLAPAKA ANNAMACHARYA).
LOCATION- SRI KAMAKSHI TEMPLE AND SRI VARADARAJA SWAMI TEMPLE, KANCHIPURAM.
COURTESY-PLAN B PRESENTATION YouTube Channel. Episodes of vocal and instrumental stalwarts can be viewed here.
Wednesday, January 12, 2022
VEENA AND MELATONIN (1)
'GAMAKAM'- PULLING THE STRING BACKWARDS IN ORDER TO TOUCH THE JEEVA SWARA.....
The video shows oscillation (gamakam) of Veena string. The practitioner's breathing slows down when the jeeva swara (core note of the raga) is touched and sustained (not directly, but by pulling the string from the previous swara or note). While sustaining the jeeva swara the breathing almost stops which is known as 'kumbhakam'. Constant practice of this leads to activation of kundalini. It is important to note that this practice is not meant to be clinical. This has to be practiced by rendering frequent raga phrases which and pause at sensitive notes through string-oscillation (gamakam). Oneness of mind and resonance is achieved through this practice which is termed as 'yoga'.
Melatonin is a hormone which is secreted by the pineal gland or ajna chakra. This hormone is said to enhance the quality of sleep, extend the duration of sleep and opens a hidden channel in the brain from where a gush of tranquility engulfs one's mind.
The amritham or ambrosia which is secreted when kundalini shakthi reaches the sixth chakra (ajna chakra) is termed as 'melatonin' according to science.
It's hard to believe that melatonin tablets can replace the Ultimate Bliss experienced by the kundalini yogis.
Medical research (into melatonin and methods of its enhancement) has concluded that slow, pleasant, essentially classical and instrumental music stimulates melatonin in a big way.
Playing the Veena of fine jackwood regularly, with spine erect and chin up activates kundalini shakthi. Regular practice of Veena in the correct posture, fine tuning of the instrument and flawless rendition activates kundalini (life-force energy).
The practitioner who is a spiritual aspirant need not dwell into fast or speedy phrases. Slow and long oscillations (gamakas), especially slow oscillation and sustenance of a swara or a note pulled from a previous swara (preferably from behind 2 or more swaras) cause the practitioner's breath to slow down while pulling the string and breath is suspended when the string is held at a certain degree of oscillation in order to touch the perfect jeeva swara.
Kundalini yoga attained through Veena playing taps the most evasive hormone, which is the actual melatonin.
SOUNDARYA LAHARI 36th SLOKA-
"THAVAAGNYACHAKRASTHAM THAPANASHASHIKOTIDYUTHIDHARAM
PARAM SHAMBHUM VANDEY PARIMILITHAPAARSHVAM PARACHITHAA
YAMAARAADHYAN BHAKTHYAA RAVISHASHISHUCHEENAAMAVISHAYE
NIRAALOKEYLOKEY NIVASATHIHI BHAALOKABHUVANEY!"
(The 36th sloka of Soundarya Lahari is for the activation of ajna chakra or the pineal gland).
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YANTRA FOR SLOKA NO.33 SLOKA NO.33:- "Smaram Yonim Lakshmeem Thrithayamidamaadau Thava Manoho Nidhaayaike Nithye Niravadhimahaabhogaras... -
There has been much talk about raga therapy.It is a vast subject that needs deep scrutiny and understanding.As far as therapy is concerned...