Sri T. M. Thyagarajan Centenary Year

Dr. G. Baby Sreeram is an authentic disciple of Sangita Kalanidhi late Sri. T. M. Thyagarajan. Highly traditional, extremely talented and 'sampradaya' oriented, Dr. G. Baby Sreeram's presentation runs strictly along the lines of Guru Sri. TMT's unique tradition. 

Dr. G. Baby Sreeram, a well-known and reputed vocal vidushi is renowned within and outside the field of Carnatic music.

(TMT Centenary year- birth date of TMT Sir-28th May, 1923)

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.

GANAANAAMTVA, DURGA SUKTHAM

        Posted in my YouTube channel- VeenaaGayathri Official

The Ultimate Music

The inner music has a strange quality. The outer music needs an instrument, it needs a duality-the musician and the instrument. The inner music does not need duality- the musician is the music, the musician is the instrument, the musician is all. There is no division. The inner music means silence, the sound of silence.
Silence has its own music. It can be heard only by those who have dropped all noise from the head. It can be heard only from the heart, not by the head. The heady person goes on missing it. Only the person who is full of heart, full of love, can hear the music.
This is the music that helps you to go beyond. It becomes a rainbow bridge. You cannot grasp it with the mind, you cannot comprehend it with the mind. The mind has to be put aside, completely put aside, and then suddenly it is there.
That is the whole art of meditation, putting the mind slowly aside and getting to the inner music, becoming attuned to the inner world of oneness. You can call it the experience of God, Tao, Truth, Dhamma; it is really nothing but the experience of the ultimate music-OSHO.

Out of the world!

"Vishaalaneelothpalalochanaayai
Vikaasipankeyruhalochanaaya
Sameykshanaayai Vishameykshanaaya
Namah Shivaaya Cha Namah Shivaaya!"

(Excerpt from Ardhanaareeshwara Sthothram, by Adi Sankaracharya).Kumudakriya, the janya raga of Panthuvarali (Kamavardhini), 51st melakartha has been chosen by the great saint vaggeyakara, Sri.Muthuswami Dikshithar for his grand composition, "Ardhanareeswaram". The scale of Kumudakriya-Ascending:-Sa Ri Ga Ma Dha Sa; descending:-Sa Ni Dha Ma Ga Ri Sa. This raga falls in the "adbhutha rasa" (wonderment and awe)category of the navarasas (nine emotions).Contemplation on the prayogas or phrases Sa Ni Dha Ri', Ri Ga Ma Dha Ri, etc. invoke a sense of fantasy, make-believe or illusion. Imagine suddenly walking into somebody who is split into a perfect half of a perfect man and a perfect woman! It certainly is a heart-stopping sight! Absolutely dazzling and surreal! Kumudakriya, a breathtaking raga of fantasy, bestows wonderful events, fantastic happenings in life. Ragas yield results only when the "jeeva swaras" (soul-notes) are tapped and mastered. Mere humming or rendering of the scale are not sufficient to induce life into the raga.
Bhogavasantham another janya of Kamavardhini (Ascending:-Sa Ri Ga Ma Dha Ni Sa, descending:- Sa Ni Dha Ma Ga Ri Sa), so close to Kumudakriya (with only a slight variation in the ascending order) does not yield results like that of Kumudakriya. Bhogavasantham invokes joy, festivities and enjoyments.

Sufism on Veena

Hazrat Inayat Khan

Noor Inayat Khan

The Sufi saint and Saraswathi Veena player, Hazrat Inayat Khan had authored several books regading abstract and unstruck sound ('anahatha shabda'). He used Veena as his vehicle to attain self-realization. His daughter, Noor Inayat Khan (visit website www.geoffreyarmes.com for more details about Noor) was a fine musician herself and played the Saraswathi veena. She authored the book, Sufi Princess. Noor Inayat Khan was born in the year 1914 in Moscow, Russia to Hazrat Inayat Khan and Ameena Begum. Almost all her youth was spent in Paris. After her father's demise in 1927 and the declaration of the 2nd World War and the invasion of France, Noor had no option but to move to England and she returned to France (Paris) in 1943 as an Allied spy radio operator. Captured by the Gestapo, she was held in solitary confinement and subjected to cruel interrogation methods. Despite the torture, Noor never revealed her identity to her captors. At the age of 29, in the year 1944, she was executed by the Gestapo. England and France posthumously awarded her the "George Cross" and "Croix De Guerre" respectively.
In one of his innumerable Sufi messages Hazrat Inayat Khan has stated that the Sufi knows of the past, present and future, and about all things in life, by being able to know the direction of sound. Every aspect of one's being in which sound manifest has a special effect in every direction. The knower of the mystery of sound knows the mystery of the whole Universe. Whoever has followed the strains of this sound has forgotten all earthly distinctions and differences, and has reached that goal of Truth in which all the Blessed Ones of God unite. Space is within the body as well as around it; in other words the body is in the space and the space is in the body.
This being the case, the sound of the abstract is always going on within, around and about man. Man does not hear it as a rule, because his consciousness is entirely centred in his material existence. Man becomes so absorbed in his experiences in the external world through the medium of the physical body that space, with all its wonders of light and sound, appears to him blank.
This can easily be understood by studying colour. There are many colours that are distinct by themselves, yet when mixed with others of still brighter hue they become altogether eclipsed; even bright colours embroidered with gold, silver, diamonds or pearls serve merely as a background to the dazzling embroidery. So it is with the abstract sound compared with the sounds of the external world. The limited volume of earthly sounds is so concrete that it dims the effect of the sound of the abstract to the sense of hearing, although in comparison to it the sounds of the earth are like that of a whistle or a drum. When the abstract sound is audible all other sounds become indistinct to the mystic.

Ragas/Navarasas/Emotions

The navarasas are 1) shantha (peace and serenity) 2) veera (valour and courage), 3) karuna (grief and compassion, 4) rowdra (anger) 5) shringara(love and romance,), 6) bhibhatsa(disgust), 7) hasya (joy and mirth), 8) adbhutha (wonder) and 9) bhaya (fear).

The emotions mentioned above are represented by certain ragas, such as:-

1)Shantha- this rasa is perfectly represented by the raga Shama, Yadukula Kambodhi, Madhyamavathi and Surati to mention a few.

2)Veera -Athana, Nata, Gambheeranata, Hamsanandi and Arabhi to mention a few.

3)Karuna-Sahana, Kanada, Mukhari, Punnagavarali and Shanmukhapriya to mention a few.

4)Rowdra-Athana, Arabhi, Chalanata, Panthuvarali and Darbaar to mention a few.

5)Shringara- Behaag, Kamas, Kapi, Karaharapriya,Yamankalyani, Brindavani and Neelambari to mention a few.

6)Bheebhatsa-Rishabhapriya, Ahiri, Ghanta and Mayamalavagowla to mention a few.

7)Hasya- Kuntalavarali, Navarasakanada, Janaranjani, Kadanakuthoohalam and Saranga to mention a few.

8)Adbhutha-Bilahari, Mohanam, Mohanakalyani, Kedaragowla, Anandabhairavi, Vasantha and Malayamarutham to mention a few.

9)Bhaya-Revathi, Gowlipanthu, Dwijavanthi, Chakravakam and Sarasangi to mention a few.

Apart from the above there are other emotions like confusion and chaos which come under the category of bheebhatsa and bhaya.Most of the janya ragas of the vivadi melas would suit such emotions.

a)Suramani (a janya raga of the 48th melakartha,Divyamani)-SRGMDNS,SNDMGRS;b)Thoomala (a janya raga of the 42nd melakartha, Raghupriya )- SRGMNS,PMRGRS; c)Nandanapriya (a janya raga of the 72nd melakartha Rasikapriya)- SRMDNS,SNDMRS;d) Rakthakshi (janya raga of mela raga Rasikapriya) -SRGMDS,SDMGRS;e)Srikanthavilepini (janya of the 54th mela raga Viswambari)- SRGMDNS,SNDMGRS etc.convey the emotions of confusion and chaos.Even the 2nd melakartha Ratnangi and the 47th melakartha Suvarnangi could be included in the category of chaos and confusion.

Feelings of regret (under the bhaya category) are perfectly conveyed by Dwijavanthi.Feelings of fear born out of abuse and supression of feelings are conveyed by Sarasangi and Revathi.

Shringara is a category that consists of many stages and emotions.Feelings of unexpressed and budding love are characterised by Brindavani.Advancement towards verbal expression of love is conveyed by Kapi and further developments are conveyed by Behaag,kamas and Karaharapriya, in that order.

Love that defies social norms and principles is perfectly conveyed by janya ragas of 61st melakartha raga, kanthamani. Love and alliances that are not approved - Divayadhorini (janya of Kanthamani) SRGPDS,SNDMGRS; clandestine meetings are represented ironically by the janya raga named Preyasi (janya of Kanthamani) SGMPDNS,SNDPMGS-in this raga the exclusion of the rishabha amounts to doing away with social norms and principles. The notes (SG) also indicate the bold step taken against principles towards forbidden, shady (MPDN) interests.

Bhamamani (janya of Kanthamani),SRMGDNS,SNDMGRS falls under the same category.

Shantha, peace after a fight or quarrel is represented by Shama; tranquility as a result of meditation is conveyed through Madhyamavathi; striving for peace and finding a solution to a conflicting situation are conveyed by Surati.

Adbhutha,wonder at discovering something beautiful is conveyed by Bilahari; something of value and substance is conveyed through Anadabhairavi; something concerning progress is conveyed by Vasantha.

Anger (Rowdra) is born out of various situations and emotions.Anger is not the same in all the situations, the emotion is reflected differently based on events,people,nature and situations. Righteous anger born out of masculinity and valour is represented by Athana and Panthuvarali. Anger due to quarrelsome nature is conveyed by Chalanata.

Veera's subdivisions like pomposity is conveyed by Balahamsa (janya of the 28th melakartha,Harikambodhi)- SRMPDS,SNDPMRMGS; heroism by Athana; and valour in a fit of rage by Hamsanandi.

Karuna ,compassion out of pity is conveyed through Mukhari and Saveri; compassion due to overflowing love is represented by the raga sahana, Kanada and Hindolam.

Hasya, joy and laughter again depends on various attitudes and situations.Comedy is represented by Kuntalavarali (janya of 28th mela raga,Harikambodhi)- SMPDNDS,SNDPMS; youthful zest and joy are represented by Kadanakuthoohalam (janya of 29th melakartha ragam, Sankarabharanam)-SRMDNGPS,SNDPMGRS; and joy born out of maturity is conveyed by Navarasakanada (28th melakartha raga Harikambodhi janya)- SGMPS,SNDMGRS; Janaranjani (29th melakartha, Sankarabharanam janya)-SRGMPDPNS,SDPMRS; and Kambodhi.

Manodharma is inexhaustible,there are various ragas to represent various moods, emotions, timings and seasons!

Ragas/Seasons

The greatest western thinker who related to the art of music is Herbert Read. He observed , "all art tends to music".Human being is inseparable from his surroundings. At times it happens that the day, the night, the morning, the evening, the season, the nature, the cloud, the thunder, the lightening, the twilight, the moon and the like exercise an influence on the consciousness of the man and take him into a mood. This mood gives rise to a rasa. Every possible kind of rasa in relation to these circumstantial surroundings has been found to be conveyed through a raga. So, the world of ragas has all the variety of life and experience. This is most true about Indian Music. Seasons,or the Rithus are a dimension of the vast game of life and creation.

"BHRUGOR-RUTHUVASANTHASCHA KUJABHAAVANOSCHA GREESHMAKAHA
CHANDRASYA VARSHAA VIGNYEYAA SHARACHCHAIVA THADHAA VIDAHA
HEMANTHOPI GURORGNYEYAHA SHANESTHU SHISHIRO DWIJAA."

"Venus's Rithu is Vasantha,of Mars and Sun is the Greeshma, the Moon's is Varsha, Mercury's is Sharad,and,O'Wise, Hemangtha is known to be of Jupiter, and Saturn's is Shishira,O'Twice born!"-(Brihat Parasara Hora Shastra,Nature and Form of the Grahas,45-46. )
Rithu refers to a period of time that is fixed for some special occasion, in this case, the occasion of the seasons.Six rithus are acknowledged. Each rithu lasts two Saura, solar months.A saura month is thirty degrees of the Sun's movement in respect to the equinoxes and solstices; it is the same as the tropical month of the well-known Sun Signs are derived.In fact, the saura months are known as Aries,Taurus, Gemini etc. in the Astronomical Siddhanthas in exactly the same manner as the Sun Signs.

Shishira "cold"-Saturn-Sun in western Sagittarius and Capricorn,(November 20th to January 20th).According to the Hindu Lunar months,they are Margashira and Pausha.

Vasantha "brilliant"-Venus-Sun in western Aquarius and Pisces,(January 20th to March 20th).According to Hindu Lunar months,they are Magha and Phalguni.

Grishma "hot"-Sun and Mars-Sun in western Aries and Taurus, (March 20th to May 20th).According to Hindu Lunar months they are Chaithra and Vaisakha.

Varsha "rainy"-Moon- Sun in western Gemini and Cancer, (May 20th to July 20th).According to Hindu Lunar month they are Jyeshta and Ashaadha.

Sharad "mature"-Mercury- Sun in western Leo and Virgo, (July 20th to September 20th).According to Hindu Lunar months they are Shraavana and Bhaadrapada.

Hemantha "frost"-Jupiter-Sun in western Libra and Scorpio, (September 20th to November 20th).According to Hindu Lunar months they are Ashwina and Kaarthika.

The Sun is a secondary ruler of Grishma though the most important graha in respect to the seasons due to being their cause.Saturn rules the coldest part of the year.The season of saturn is colder than the season of Jupiter because the earth is actually further from the Sun in its revolution during that time. Venus rules the generative and brilliant-flowered period that roughly equates to spring.Mars rules the hot months during which the Sun gets hotter and hotter each day.The Moon rules the rainy months that water the crops.Mercury rules the period during which the crops and fruits mature.Jupiter rules the frosty months during which the leaves fall and the cold begins to set in."-ERNST WILHELM.

Even the cycles of time are connected with Chakras in the body according Kundalini Yoga theory. The highest Chakra called Sahasrara is beyond time and is dependent on the soul's journey towards higher spiritual levels. The lower six Chakras get mild activation during the seasons - Agna Chakra in Vasanth Rithu (spring), Vishuddha in Greeshma Rithu (summer), Anahatha in Varsha Rithu (rainy season in India), Manipura in Sarad Rithu (bright moon light), Swadhisthana in Hemantha Rithu (pre-winter), and Muladhara in Sisira Rithu (coldest winter).

Ragas for the six seasons:-

SHISHIR RITHU:-Shishir is one of the thousand names appearing in Vishnu Sahasranamam.This name originates from the civilization of the Indus Valley and the Gangetic Plains.It refers to the forthcoming winter season and the winter winds.

In the english months between November 20th to January 20th, the most auspicious Dhanur masam (Margazhi Masam) takes place.The atmosphere is charged with religious fervour.The lovely cool breeze that is so hard to experience during most of the year all over India, fills the atmosphere to touch everybody's heart with sublime feelings!People wake up early in the morning to offer prayers in their homes and temples.Women are filled with excitement to decorate their front yards with colourful rangoli. People relish every moment of the cool, lovely winter.

Ragas that are generally prescribed for Shishir Rithu are :-Nattaikuranji (Carnatic)-Rageshri(Hindusthani) and Sriranjani(Carnatic)-Bageshri(Hindusthani).Mayamalava gowla (Carnatic)-Bhairav (Hindusthani) is also assigned for this Rithu.

My manodharma brings to life Arabhi,Sudhdha Saveri,Suddha Dhanyasi, Abheri etc.

VASANTHA RITHU:- This season is known as the "King of seasons!" because it brings in freshness and novelty.Plants and trees start waking up from their deep slumber.Yellow is the predominant colour of this season,indicating the auspiciousness of the season.Birds that flew away during the extreme winters,slowly start coming back and the atmosphere is filled with the various tones of different birds chirping.Spring has arrived!The inexplicable play of Nature in all its splendour and glory beckons even kite-players.Vasanth Rithu is the season for kites and children play gleefully with their kites.

This season is meant for love and romance. Mythology says that Manmatha induced love between Lord Shiva and Parvathi during the season of spring.While Lord Shiva was in meditation,the lovely Parvathi,dressed in yellow ,with yellow flowers decorating her hair and a garland of yellow flowers in her hands,presented herself to Lord Shiva.Lord Shiva who was in deep meditation was subjected to the arrow of love aimed by the God of Kama,Manmatha and He became drunk with love for Parvathi.Even Kalidasa's "Kumara Sambhavam" mentions Vasantha Rithu as the season that kindled the fire of desire between the divine couple.

Even Sri Adi Sankaracharya in His 6th sloka in Soundarya Lahari has described the spring season associating it with Lord Manmatha!"

"Dhanuh Paushpam Maurvi Madhukaramayi Pancha Visikhah

Vasanthah Saamantho Malayamarudaayo Dhanarathaha

Thathaapyekaha Sarvam Himagirisuthe Kaamapi Krupaam

Apaangaaththe Labdhvaa Jagadidamanango Vijayathe!"

(Oh Daughter of the snow-clad Himalaya mountain!Kama deva,the God of love,has only a bow made of flowers,with its string comprised of a cluster of honeybees,and arrows barely five.The spring season is his assistant and the southern breeze his war-chariot.Yet,with such frail equipment,bodiless and alone though he be,manmatha conquers the entire universe,having obtained some favour through Thy benign side-glance.)

Vasant Panchami or Shree Panchami is celebrated during this season when Goddess Saraswathi is worshipped with great devotion all over Inida.

Vasanth Navaratri is celebrated during this season.Vaishno Devi temple in Jammu observes Navarathri during this period.The importance of the worship of Devi is mentioned in the Devi Bhagavatham.

These nine nights are also celebrated by the devotees of Lord Rama and is considered the spiritual New Year as on the ninth night, Lord Sri Rama,the incarnation of Lord Maha Vishnu was born.On the day of Rama Navami,Lord Sri Rama's birthday is celebrated with great festivities.

Ragas assigned for this season are:-Kapi,Hindolam,Kanada, Vasantha (Carnatic) Piloo, Basanth and Bahar (Hindusthani).

My manodharma,same as above.

GRISHMA RITHU:-The atmosphere during this season is extremely hot,dry and bright.The sun rays are very powerful and penetrating.People are generally tired and exerted even without much physical activity.

"Rithusamhara" by Kalidasa is a lyrical description of all seasons,starting with the Grishma Rithu.

Ragas assigned for this season are:-Darbari Kanada and Deepakam (Pantuvarli janyam).

My manodharama:-Thodi and Vakula Bharanam.
VARSHA RITHU:-The rainy season follows the scorching heat of the summer months. The downpour of rainwater on the heated soil touches every heart ,the effect soothing and calming after the onslaught of extreme heat conditions.
Everybody yearns for Varsha Rithu apart from the Vasanth Rithu, rains evoking the romantic and creative spirit in every human being.During the monsoon,for example, many of the Malhar group of ragas, like 1)Shuddha Malhar,2) Mian Ki Malhar,3) Gaud Malhar,4) Nat Malhar,5) Surdasi Malhar,6)Dhoolia Malhar,7)Ramdasi Malhar,8) Mirabai Ki Malhar,9) Charjoo Ki Malhar,10)Jaijaiwanthi Malhar,11) Roopamanjari Malhar ,which are associated with the monsoon and ascribed the magical power to bring rain, are rendered.
Dhuliya Malhar captures the anticipatory mood where the pre-rain gusts kick up the dust(dhool).
The raga ideally suited for this season is Megh and Miya ki Malhar(Hindusthani) and Madhyamavathi or Brindavana Saranga , Megharanjani and Amrithavarshini(Carnatic).
My Manodharma is same as above.
SHARAD RITHU:-Sharad rithu follows Varsha rithu and prcedes Hemantha rithu.The scorching heat of summer is a distant memory, the coldness of winter is yet to come. The weather is mild,pleasing and very moderate.
Moonlit nights are enchanting during this rithu,they are well-known as Sharad Purnima. Poets and epics describe lovingly the beauty and joy of moonlit nights during Sharad rithu.
Soundarya Lahari,the tantrik creation of Sri Adi Sankaracharya praises the face of Mother Goddess as "Sharthachandra vadana!"
His 7th sloka, "KvanathKanchi Dhaama Karikalabha Kumbhasthananathaa
Pariksheenaa Madhye Parinathasharath Chandravadanaa
Dhanurbaanaan Paashaan Srunimapi Dadhaana Karathalaihi
Purasthaadaasthaam Na PuramathithuRahoPurushikaa!"
(May the divine Mother with Her slender waist girdled with jingling mini-bells,body slightly bent in the middle by the weight of Her breast resembling the frontal globes of the forehead of a young elephant,Her face blooming like the autumnal full moon and Her four hands holding bow, arrow, noose and goad and who is the pride of Shiva,manifest Her presence before us!)
In the 15th sloka of Soundarya Lahari the Acharya has said:-
"Sharath Jyotsnaa Shubhraam ShashiyuthajataajootamakutaamVarathraasathraanasphatikaghatikaapusthakakaraamSakrunnaaa Thvaa Nathvaa Kathamiva Sathaam SannidadhatheMadhuksheeradraakshaamadhurimadhureenah Phanithayaha!"
(How can torrents of words,excelling even honey,milk and grapes,help flowing from the mouth of good men who but once make prostration to Thee who art endowed with the lustre of the autumnal moon,who art holding Thy two hands in the pose of granting boons and offering protection,and sporting in the other two a rosary of crystal beads and a book, and who wearest the crescent moon in Thy crown of plaited locks!)
The radiance of Sri Radha,the Divine Spouse of Lord Krishna is described as "Koti Sharadendu Mandale!"
Terms like "Sharadendu Vilasam" are mentioned in abundance by creative poets,in comparison to the moonlit nights of Sharad rithu.It was on a moonlit night during Sharad Rithu that the "Rasaleela" of Lord Krishna and the Gopis took place on the banks of River Jamuna,amidst mango and kadamba groves on the Holy land of Vrindavan.
Sharad Navaratri ,celebration of the Shakthi Goddess,is known as the Maha Navaratri. It celebrates the slaying of Mahishasura by Goddess Durga. This festival is celebrated all over India with great religious fervour and devotion.The Eastern part of India glorifies this festival as one of the primary festivals.

Muthuswami Dikshithar's Kamalamba Navaavarnams are rendered with great devotion during Sharad Navaratri.

Ragas most suited for this season are:-Valachi (Carnatic),Kalavathi(Hindusthani),Malkauns(Hindusthani).

My manodharma-the Sharad Poornima nights evoke Poorikalyani,Hamsanandi and Chandrakauns.

HEMANTHA RITHU:-The nights are led by Pushya nakshatra.They are longer ,but quickly slip away.It is pre-winter and not very cold.The sun during this period is dull and obscured by mist and fog.The wind blows gently,the rivers have little water and minimum flow.

The most popular festivals of lights,Deepavali and Kaarthika Pournami take place during Hemantha rithu.The North Indian festival,Karva Chauth also takes place during this rithu.This is a festival performed by married women for the welfare of their husbands.

Bhartru Hari describes Hemantha Rithu in his Sringara Satakam.He states that the nights of men who are not protected by the embrace of deer-eyed-damsels from the snowy,gusty winds are equal to living hell.

Ragas best suited for this season are:-Yaman Kalyani,Shree and Behag.

My manodharma evokes same as above.

Eternal fragrance!

"Veena Vadana Tatvagnyah Shruthijaathi Vishaaradhah

Thaalagnyashcha apraythnena mokshamargam niyachchathi!"-(Yagnyavalkya Maharishi-Liberation or salvation can be easily attained by the practitioner who can play the veena effortlessly and perfectly in the aspects of shruthi,laya and manodharma!).

"Darshana Sparshanechasya Bhoga Swargaapavargade

Puneetho Viprahathyadi paathakaiah pathithamjanam!"(Sarangadeva says that the mere sight or touch of veena cleanses even a sinner who has slayed a brahmin!).

When musical notes are sung or played,they interact with the seven chakras of the body and not only that,they even represent Saptha Mathrikas, Brahmi, Maheswari, Kowmari, Vaishnavi, Varahi, Indrani and Chamundi.The sapthaswaras originate from the Sahasrara chakra and from there, they travel to their assigned positions to remain there.

The manner in which the Sapthaswaras (in descending order) travel from Sahasrara to their designated positions is illustrated below:-

Since Sahasrara is allotted the supreme position of containing all the Sapthaswaras,the order starts from Nishadam to Rishabham in the descending order,as a result the Saptha Mathrikas are mentioned from the last to the first in their order:-

1.Nishadam (ni) is represented by Chamundi Shakthi and correlates with the Muladhara Chakra.When the note "nishadam" is touched by the practitioner,the sound starts from Sahasrara and travels all the way below the spine to the Muladhara chakra and remains there.It has no upward motion.

2.Dhaivatham (dha) is represented by Indrani Shakthi and is related to the Swadhishtana Chakram.When the note "dhaivatham" is touched by the practitioner, the sound starting from Sahasrara ,travels all the way down to the Muladhara chakra and raises upwards to reach the Swadhishtana at the genital region and stationed there.

3.Panchamam (pa) is represented by Varahi Shakthi and is related to the Manipooraka Chakra.When the note "panchamam" is either sung or played on an instrument by the practitioner,the sound starting from Sahasrara Chakra travels all the way down to the Muladhara Chakra and raises to reach the Manipooraka Chakra at the solar plexus or navel region to be stationed there.

4.Madhyamam (ma) is represented by Vaishnavi Shakthi and related to the Anahatha Chakra.When the note "madhyamam" is touched by the practitioner,the sound that arises from the Sahasrara travels all the way down to the Muladhara Chakra,raises up from there to go to the Anahatha Chakra at the cardiac plexus or the heart region to stay there.

5.Gandharam (ga) is represented by Kowmari Shakthi and is related to the Vishudhi Chakra. When the note "gandharam" is touched by the practitoner, the sound travels from the Sahasrara Chakra way down to the Muladhara Chakra and raises upto reach the Vishudhi Chakra, at the carotid plexus at the throat region and stays there itself.

6.Rishabham (ri) is represented by Maheswari Shakthi and is related to the Agna Chakra.When the note "rishabham" is touched by the practitioner, the sound travels from the Sahasrara all the way down to the Muladhara Chakra and raises upto the Agna Chakra which is at the medula plexus between the eyebrows and stays there.

7.Sadjyamam (sa) is represented by Brahmi Shakthi and is related to the Sahasrara Chakra , where all the swaras originate as well as dissolve themselves.

The movement of 'prana' in the human body and the flow of sound, 'naada' in the veena is similarly patterned. According to Maithraayanniya Upanishad the prana circulates in the human body on a single day and night for 21,600 breaths. According to our ancestors, the sun revolves around the Mahameru 21,600 times in a single day. A day in the life of a man is known as one revolution of the earth and one breath of sun. 21,600 days constitute 60 years in a man's life time which is known as 'parivruthi'. Two 'parivruthis' constitute a 'kalachakram'. This is also known as 'Purusha Ayush' consisting of 120 years in astrology. This constitutes two days in the life of sun.

A drop of blood as it circulates within a human body takes along with it one breath of the human being. This drop of blood along with one breath takes nearly 7 minutes to circulate within the human body. Similarly, when the veena string is plucked once, the nada wave emanating from it takes nearly 7 minutes to travel back and forth between the bridge of the veena to the beginning fret of the veena.

Lord Shiva was known as 'Veena Gana Priya'. In Thiruvilayadal Puranam Lord Shiva takes the form of wood cutter and plays 'yazh' for the sake of his disciple 'Panipathiran'. Lord Shiva stated that yazh or veena is an instrument bubbling with life because kuril, nedil ­'consonants' and' gamakam' can be played in it without interruption.

A man who recites Gayathri 100 times is absolutely elevated. He reduces 21,600 breaths to 108 breaths per day through pranayama. Hence he enhances one year of life span to 200 years of life span. The veena yogi, by meditating on the tharasthaayi shadjamam within the lotus of his heart is able to reduce the 21,600 breaths to 2,160 breaths. He reduces the same to 1,080 breaths by meditating on madhyasthayi shadjamam and to 540 breaths by meditating on the Aadhara Shadjamam. Therefore the yogic power of the three sthaayis contribute towards the strengthening of the longevity of man to make good use of life towards realising God.' (Incidentally the 'Hrudayakamalam' , the lotus of the heart) has 12 petals bearing
Bijakharas 'ka', 'kha', 'ga', 'gha', 'nga', 'cha', 'chcha', 'ja', 'jha', 'gnya', 'ta', 'tha'.
The first, eighth and eleventh petals 'ka' 'ja' and 'ta' are bheejaaksharas to be meditated upon to unravel the secrets and mysteries of all fine arts towards cosmic truth. Muthuswami Dikshitar's has composed the krithi 'Kanja thalaayadaakshi' in Kamalamanohari with these bijaksharas being emphasised in the beginning of the krithi itself. It is also interesting to note that Saint Thyagaraja composed' Sobhillu Sapthaswara' with the seven aksharas of the Tharaka Mantram 'Sri Rama Rama Rama' (Sri Ra Ma Ra Ma Ra Ma) in mind and not 'Sa ri ga ma pa da ni' as misunderstood by many. Saint Thyagaraja, overjoyed by the vision of Lord Rama sang in praise of the Tharaka Mantram which granted him the vision.

p.s:The comment posted by Music Lover,raising the doubt about why Sri Thyagaraja has composed "Sobhillu Sapthaswara" in a janya raga instead of a sampoorna raga is a very relevant and valid one,something that never struck me.It throws light on the fact that the saint composer was referring to the Tharaka Manthram by not composing "Sapthaswara" in a sampoorna raga! Courtesy-Yedathore Subbarama Sharma

Nine chakras /Srichakram /Navaavarnam

Bhavanopanishad states that our body is correlated to the Sri Chakram:-

Description of the nine chakras in our body and their function in the Sri Chakra representing Sri Lalitha Maha Tripurasundari :­-
1. TRILOKYA MOHANA CHAKRAM (Sri Chakra - Adharam) (Muthuswami Dikshithar's 1st navavarna krithi-Kamalamba Samrakshathu in Ananda Bhairavi,Misra Chapu thalam.)
MOOLADHARA CHAKRAM (Foundation)

Location: the base of the spine; the first three vertebrae.

Tattva (element) : Earth;Predominant sense: Smell ;

Ruling Planet:-Mars( Solar,Masculine).

Effects of activating Mooladhara Chakra:- This Chakra represents the manifestation of the individual consciousness into human form, that is physical birth. Meditation on this chakra induces the beginnings of awareness, freedom from disease, lightness, inspiration, vitality, vigor, stamina, security, and understanding of inner purity and softness in the voice and in the inner melody.

2. SARVAASHAAPARIPOORAKA CHAKRAM (2nd krithi,Kamalamabam Bhajare in Kalyani,Adi thalam)
SWADHISHTANA CHAKRAM (Dwelling - PlaceOf the Self).

[Sixteen-petalled lotus)

Location: Genitals ;

Tattva(Element)):Water ;Predominant sense: Taste;

Ruling Planet: Mercury,(Lunar,Feminine) .

Effects of activating Swadhishtana Chakra: Centering on this chakra enables the mind to reflect the work as the moon reflects the sun. One requires the ability to use creative and sustaining energy to elevate himself to refined arts and pure relationships with others, having become free of lust, anger, greed, unsettledness and jealousy. When Lord Vishnu is visualised, a feeling of peacefulness ensues, as still as a lake. Elevation from first to the second chakra brings a lunar awareness, reflecting the divine grace of creation and preservation. Vishnu sees all the worlds and preserves the creation of Lord Brahma, he is beneficent with a countenance of the purest nature.

3. SARVASANKSHOBHANA CHAKRAM (3rd krithi;Sri Kamalaambikaya Kataakshithoham in Sankarabharanam,Rupakam,2 kalai)
MANIPOORAKA CHAKRAM (The city of gems) (Eight-petalled lotus);

Location-Solar Plexus; Navel ;Tattva (Element) : - -Fire; Predominant sense-Sight; Ruling Planet-Sun (Solar, Masculine).

Effects of activating Manipooraka Chakram: Meditation on this chakra will bring an understanding of physiology, the internal functioning of the body, and the role of ductless glands as related to human emotions. Concentration on the navel, the centre of gravity in the body, brings an end to indigestion, constipation and all problems of the intestinal region. A long and healthy life is achieved. Egotism is lost, and one achieves the power to create and destroy the world.

4. SARVA SOWBHAGYADAYAKA CHAKRAM (4th krithi,Kamalaambikaayai ,Kambodhi,Kanda Jathi Ata thalam)
ANAHATA CHAKRAM (Unstricken) [Fourteen triangles};Location-Cardiac Plexus; The Heart;Tattva (Element): Air (formless,without smell or taste) Predominant sense: Touch;Ruling Planet -Venus(Lunar, feminine).

Effects of meditation on Anahata Chakra: By evolving through the fourth Chakra, one masters language, poetry and all verbal endeavours, as well as his indriyas, or desires and physical functions. The person becomes master of his own self: gaining wisdom and inner strength. Male and female energy becomes balanced, and the resolution of the two energies interacting outside the body ceases to be a problem as all relationships become pure. The senses are controlled, and the person flows freely without hindrance from any external barrier. One centered in the fourth chakra has evolved beyond circumstantial and environmental limitations, to become independent and self­emanating. His life becomes a source of inspiration for others as they find peace and calm in his presence. Divine vision evolves with pure sound in Anahata Chakra, bringing a balance of action and joy. One gain powers over vayu the air element. And because air is formless, the fourth-chakra person can become invisible, travel through space; and enter into the bodies of other persons.

5. SARVARTHASADHAKA CHAKRAM (5th krithi SriKamalaambikaayaah Param Nahire in Bhairavi in Misra Jathi Jampa thalam ,2 kalai)
VISUDHA CHAKRAM (Pure);Location-Carotid Plexus;Throat;

Tattva (Element) : Akasha,soundPredominant sense:-hearing ;Ruling Planet-Jupiter.

Effects of meditation on Visudha Chakra: Meditation on the hollow space in the throat area gives calmness, serenity, purity, a melodious voice, command of speech and of mantras; and the ability to compose poetry; to interpret scriptures, and to understand the hidden message in dreams. It also makes on youthful, radiant (Ojas) and a good teacher of spiritual sciences (brahma­vidya).

6. SARVAAKARSHANA CHAKRAM (6th krithi,Kamalaambikaayaasthava Bhakthoham in Punnagavarali, Thisra Eka thalam,2 kalai)
AGNA CHAKRAM (Authority, Power, Unlimited Power and Command)

Location-Medula Plexus, point between the eyebrows. Tattva (Element) : Maha Tattva, in which all other tattvas are present in their ratified pure essence (tanmatra). According to Samkhya philosophy, Mahat or Mahatattva, consists of the three gunas and includes manas.

Ruling Planet-Saturn (Solar, Male) Predominant sense-sight.

Effects of mediations on Agna Chakra: One who meditates on this chakra eradicates all his sins or impurities and enters the seventh door, beyond agna chakra. This person's aura manifests in such a way as to allow all who come in to his presence to become calm. He is now tattvatita ­beyond the tattvas. All desires are basically the play of tattva and thus when one stablises himself in the place between the eyebrows he goes beyond all the kinds of desires that motivate life and impel one to move in many directions. One now becomes one-pointed; he becomes trikaladarsh, knower of past, present and future. Ida and Pingala are time-bound; upto the fifth chakra the yogi also is time-bound, but as Ida and Pingala end here, the yogi moves into Sushumna, which is kalatita, beyond time. The danger of backsliding ends; there is no spiritual reversal, for as long as he is in his physical body, he is in a constant state of non-dual consciousness. He can enter another body at will. He is able to comprehend the inner meaning of cosmic knowledge and is able to generate scriptures. The person evolved through Agna Chakra reveals the divine within and reflects divinity within others.

7. SARVAROGAHARA CHAKRAM (7th krithi,Sri Kamalambikaayaam Bhakthim Karomi in Sahana,Thisra Thriputa 2 kalai)
SOMA CHAKRAM (MINOR CHAKRA). -(Eight triangles)Location in alignment with the middle of the forehead and is the seat of Soma (the Moon), Amrita (nectar) and Kamadhenu.

Effects of Meditation on Soma Chakra:One who meditates on this Chakra and stops the downward flow of this amrita, or nector - by performing khechari mudra (khe, the ether, Chari, moving) - becomes immortal in this physical body. He is able to stop the process of aging and thus he remains very young and full of vitality and stamina. He obtains victory over disease, decay and death.

8. SARVASIDHDHIPRADA CHAKRAM (8th krithi,Shri Kamalaambike Avaava in Ghanta,Adi thalam,2 kalai)
KAMESWARA CHAKRAM (MINOR CHAKRA) Location:between soma and sahasrara chakram (a little above the forehead).

Effects of Meditation on Kameswara Chakram: He enjoys eternal bliss through the union of Shiva and Shakthi - the ultimate goal of kundalini Yoga. Khechari Mudra establishes 'Urdhvareta', enhancing the upward flow of energy, or the ability to draw the essence of the seminal fluid upward through the Sushumna Nadi. With this the Yogi is able to stay in Gagana Mandala or Shunya Mandala 'the void' that is the hollow space between the twin hemispheres, which is known as the tenth gate of the body. It is located within Sahasrara, the seventh chakra (excluding the two minor chakras)

9. (BINDU:THE POINT IN THE CENTRE) (9th krithi,Shri Kamalamba Jayathi,Ahiri,Adi 2 kalai)
SARVAANANDAMAYA CHAKRAM :-SAHASRARA CHAKRAM;Location:Top of the cranium; Cerebral Plexus.

Effects of Meditation on Sahasrara Chakram: Immortality is achieved within Sahasrara Chakram. After Kameswara Chakra, where the Siva­Shakthi union occurs, when the Kundalini is raised upto Sahasrara Chakra, the illusion of 'individual self 'is dissolved. The yogi becomes realized, one with the cosmic principles that govern the entire universe within the body. He obtains all Siddhis (powers) upto Soma Chakra, where he encounters kamadhenu, the wish-fulfilling cow within himself. He is a siddha, but has transcended the desire to manifest those wishes. According to the shastras, Sahasrara is the seat of the self-Iumniscent soul, or chitta, the essence of being. Here, Chitta is like a screen upon which the reflection of the cosmic self is seen, and through it the divine is reflected. In the presence of the cosmic self it is possible for anyone to feel the divine and indeed to realize the divinity within himself.

Omkara

In ancient mythology whenever a God wants to give life to Himself or to another God,to manifest Heaven and Earth,or Man,He emits a sound.The creative Gods will create everything through Sound,"OM".It is the song of creation!

OMKARA UPASANA:-Sri Krishna Himself claims to be Omkara in the seventh chapter of the Bhagavad Gita.Omkara is auspicious whether a person utters it knowingly or unknowingly.The words "OM ATHA" came out of Lord Brahma's throat in the beginning of creation.When Omkara is repeated alone,the mind develops "vairagya"(detachment).The seekers and hermits in the stage of "vanaprasthaashrama" and sannyaasa make use of Omkara for getting completely detached.
Omkara represents all the letters of the alphabets and therefore all the objects of creation.Thus Omkara is the ideal locus (Alambana) for contemplating the Higher principle of Totality (VIRAT) which is the object of the Upasana (Upasya).The great cosmic sound of the Omkara resonates and vibrates above the head like thunder in the sky (Meghanaada).
KATHOPANISHAD:-Omkara is the best locus for contemplating on the All-Pervasive.Having known and contemplating on this Omkara,man can attain Brahmaloka.
THREE LEVELS OF EXISTENCE:-1)A-gross level of manifestation, 2)U-subtle level just before manifestation, 3)M-casual level,unmanifest, 4) . )-('m' matra as in sanskrit)-Supra casual.
MUNDAKA UPANISHAD-Omkara is the bow,individual self is the arrow,Brahman is the target.The target must be hit by an undistracted seeker and should become one with it as the arrow does.This is a metaphor.Brahman is not really separated from us.The target is knowledge of Brahman.Omkara will give us that knowledge.
AUM could be interpreted as follows:-
A-first letter,with the mouth open
M-third letter with mouth close
U-is seen as intermediate
The OM (AUM) represents all the alphabets,all the words and all the objects of the Universe.What is beyond Omkara is Silence.Silence is the Parabrahman and Omkara is the Shabdha Brahman.Silence-awareness is the illuminator and the content of Omkara.Brahman is both beyond Omkara, the sustaining content of Omkara and the witness of Omkara.
TATTRIYA UPANISHAD 1-16.Omkara worship along with Omkara Upasana (contemplation) is considered to be one of the superior upasanas of the Vedas.
THE HUM OF THE DRAGON (THE CHINESE TAOISTS):-The Om sound is a high-pitched electrical vibration that can be heard-maybe on a quiet morning.There are ten different manifestations of this sound.Chinese taoists recognise two of these.One they call "the hum of the dragon";the other ,"the growl of the tiger".
SWAMI CHETANANANDA from"BREATH OF GOD":-The Om sound is the fundamental vibration of life itself.There is no work to be done with it except,when you here it ,to be aware of it.
SRI ANANDAMAYEE MAA:-(1896-1982),also called Anandamoyi Maa,was a Hindu spiritual teacher and Guru from Bengal and hailed as a spiritual mystic of the 20th century.She would go into a trance and sing many hymns.One of the hymns sung by Her while in a mystical trance:-
Thou hast come out of "PRANAVA"(OM),the seed-word,the base of all existence and the truth of all.....Thou dost symbolize the Heavenly Couple,Kaama and Kaameswari who are dissolved together in all-permeating Bliss Supreme and signified by Nada and Bindu.
This sacred hymn of Anadamayee maa superbly unfolds the mystery of the first creation out of Pranava-The Omkara.Mother said on one occasion:The one eternal word is the prime cause of the Universe:with the evolution of the ever-abiding word,the progress of the material life of creation goes on in parallel lines.These eternal Truths that came out of Her conciousness during samadhi ,have been echoed in Maitreyi Upanishad:-Om was splendour and fire at first.By this syllable Om,the splendour germinates,it shoots upwards,it expands,and becomes the vehicle of Divine worship:the splendour germinates in the form of the mystic syllable Om,as a seed germinates,i.e.,it is manifested in the primeval form of the Veda(the creative song),it shoots as the internal sound Om.
Omkara and Nabhi in LALLA:-Lalla was a great saint and mystic from the Kashmir province of India.She lived in the 14th century.She went through many heart aches in Her marital life and renounced life to come under the spiritual tutelage of Sidh Srikanth.Lalla excelled in spiritual practices and is said to have reached the lofty height of spiritual realization, which is the abode of nectar.
Her love for Shiva could be compared to the Meerabai's love for Krishna.Her poems or "vakyas",formed an important part of kashmiri language and culture and are still very much revered even today.
She said about Omkara:-(LALLA-VAKYANI)-The pranava -Om,is endowed with all virtues contained in all the mantras taken as a whole.She said-"With the help of pranava,I absorb myself in union with the Atman-Light,and so expelled the fear of death."
Lalla advocates a form of concentration on the navel-centre,the nabhi,with the help of Om associated with the rising of kundalini.During sahaja-kumbhaka one becomes absorbed in Shiva.In the Thyagaraja krithi,Mokshamu galada Omkara is mentionedin the charanam:-"Praanaanla samyogamu valla pranava naadamu sapthaswaramulai baraga"-Pranava or Omkara is generated from the combination of Prana or vital force and Anala or the fire.It is from pranava ,the seven notes of the Divine music emerge.
In the continuing lyrics :-" Veena vaadana loludau Siva mano vidhamerugaru,Thyaagaraaja vinutha"-veenas state is exalted by the implication that salvation is not obtainable to those who are not able to perceive the mind of Shiva whose conciousness is tuned to the divine resonance of the veena!
In the krithi "Raga sudharasa" in Andolika ragam,Sri Thyagaraja says in the charanam:"Sadaa Shivamayamagu Nadomkara swara vidhulu jeevanmukthulani Thyagaraaju theliyu"-As known to Thyagaraja,the jeevan mukthas are those who enjoy the melody that is the glorious form of Sadashiva,which is the sound of the tuneful Omkara!

Aahatha Nada/Its role in elevation

Art is the most powerful medium capable of conveying the artiste's feelings to the listener.The origin of music is therefore 'feeling',musi-cally termed as 'bhava'.Every 'bhav-a' has a 'rasa' in it.

'Rasa' is the experience that arises in the emotional core of a listener as he registers the 'bhava' conveyed by the artiste.Therefore from the'bhava' of the artiste music flows and ends up in the same 'rasa' of the listener.This is the ideal of music.If the 'bhava' of the artiste is ennobling,his or her music can certainly elevate the listener's conciousness to great heights.For this reason alone,great composers like Sri.Thyagaraja,Sri Muthuswami Dikshitar,Sri Syama Sasthri and many other composers/devotees whose hearts were filled with love of God chose music to reach the feet of their chosen deity.

The 'bhava' or thought in praise of God is the lyric or sahithya and the music on which the sahithya is based is the 'rasa'.The core of devotion has found expression through lyric in thought andthrough music in experience.Raga and rasa being identical,the Indian science of music developed a language of its own to express any emotion or rasa in music.

Many times we have felt elevated by listening to few artistes.The bhava with which they render is evident through the feelings that arise in us while we listen to them.Whenever I wish to travel to Srirangam,Smt.M.S.Subbulakshmi and Smt.D.K.Pattammal not only take me there,they bodily(here the body is "sookshma shareera") lift me and take me all the way to Srirangam to place me right in front of Lord Ranganatha,and that too in His sanctum-santorum!!!Smt.M.S.'s "Ranga pura vihara" in Brindavana Saranga and Smt.D.K.P.'s "Ranganayakam" in Nayaki literally transport me to the Lord of the Universe.Which means they have rendered the compositions with such a magnitude of 'bhakthi bhava' for such a 'rasa' to result in the core of my being.To mention a few more,I literally have a vision of Kalidasa's darshan of the Goddess while listening to Smt.D.K.P.'s Syamala Dandakam,Sri.Semmangudi Srinivasa Iyer's rendition of "O Rangasayi" once again transports me to Srirangam,Smt.D.K.P.'s rendering of "Panchashat Peetha Rupini" and her pause at the 'rishabha' in the anupallavi,"Padmanabha Sahodari" gives me dazzling visions of the Goddess in all Her beauty.

My Guru.late Sri.T.M.Thiagarajan,created a divine atmosphere around him during my class sessions that used to last for over an hour everytime.I felt I was going to a temple instead of a music class,when I used to learn from him.Every note he breathed had a divine aura and his musical intellect came from his Higher Self that was within him!There are many many more examples to quote,living and past musicains,who havetaken me to all the temples and gave me darshan of so many deities in India through their music.These great artistes,through the intensity of 'bhava' have rendered service of the highest order to their listeners.By imparting "Brahmanandam" to the listeners ,such artistes have reduced their 'karma' by leaps and bounds,and that by itself is a great penance!
All forms of popular music tend to provoke the senses,some make us sad,a few give us the illusion of happiness, a few are simply nerve-shattering(heavy metal and rock), certain musical approaches to God are essentially "rajasic" in nature,and there maybe a few that are even "tamasic."Carnatic music is one of the best forms of music that has the ability to bypass senses to attain the soul directly,because it is "sattwa guna pradhana."
There is music that simply does not contain any bhava and leaves the listener feeling listless and flat. If emotions of the artiste are sattwic and noble,their music elevates the listeners to great heights.If materialistic pursuit is the drive behind the rendering of the artiste,she or he attracts listeners who are essentially materialistic by nature.In music as pious and sacred as ours,it is essential to emphasise on its "sattwic" undertones through 'bhava' resulting in'rasa' of the listener that will lift him/her to spiritual heights.

The photograph above is of my Guru,late Sri T.M.Thyagarajan,who has attained heavenly abode through his lifetime of meditative and spirtually high-gnana singing and compositions.

The Practice Of Nadayoga

"By one who is desirous of attaining perfection in yoga,Nada alone has got to be closely heard(meditated upon)having abandoned all thoughts and with a clear mind."(Adi Sankaracharya-Yoga -Taravali).

Nadayoga through deep and absolute involvement in the music one can sing or play on an instrument, is similar to Bhakthi yoga.Nadayoga that contains the stages of yama,niyama,asana,pranayama,pratyahara,dharana,dhyana and samadhi is similar to Raja yoga .People who are not into any singing or playing an instrument can adapt the following methods in their spiritual journey.

For starters,Nadanusandhana asana should be practised.Nadanusandhana Asana:-A-kara,U-kara,M-kara,AUM.Sitting in vajrasana or sukhasana,inhale slowly and completely.First stage:Adopt chinmudra and while exhaling chant 'AAA' in a low pitch.Feeling the resonance in the abdomen and the lower parts of the body,repeat 9 times.Second stage:Adopting the previous mudra and breathing mode,chant 'UUU' feeling the resonance in the chest and the middle region of the body,repeat 9 times.Third stage:Same posture and breathing as the previous two stages,but adopt Adi Mudra-[Place palms on the thighs in vajrasana with the tip of the thumb at the base of the little finger and closing all the fingers over the thumb in a fist.Concentrate on the vishudha chakra(throat region)].Chant 'MMM' and feel the resonance in the entire head region,repeat 9 times.Final stage:Sitting in any meditative posture,adopt Brahma Mudra[Sit in any comfortable yogic posture.Sitting with the spine erct,move the face to the right by turning only the neck,chin coming in line with the right shoulder to whatever extent possible,with gaze directed to the right.Remain in this position for 3 or 5 breaths and get back to the original position.Next,turn the face to the left so that the chin moves towards the left shoulder and the gaze turns towards the left.Remain this way for 3 to 5 breaths and come back to original position.Relax muscles of the neck, and tilt the head back.Relaxing the neck in this manner,let the head come down as far down as possible under gravity,turn the gaze towards the eyebrows.Maintain posture for 3 to 5 breaths and return to original posture.In the fourth stage,the chin drops to the chest level,breathing reduces.In all stages it is essential to maintain concious breathing.All the four levels constitute one Brahma Mudra.Always turn the gaze in the direction of the face whenever the Mudra is attained and released.
Brahma Mudra has to be learnt under the guidance of a proper yoga teacher,For that matter all the above postures and mudras maybe done under the guidance of an experienced yoga practitioner.
Swami Satyananda who was born in 1923 in Almora took up sanyasa at the age of 19 from Swami Sivananda at the Sivananda Ashram,Rishikesh.He had practised and preached nadayoga extensively.
The following are excerpts from his preachings about nadayoga:-
Sittng in nadanusandhana asana,close your eyes and relax your whole body and mind.Feel at total peace.Inhale deeply and exhale with a humming sound like a bee.Keep the teeth seperated slightly and mouth closed.Feel the bee-like sound vibrate throughout the head region,starting from the throat pit.Do this for 30 seconds.Continue repeating this humming sound for 5 minutes.Apply your mind to the humming sounds.After a while,stop making the humming sounds and try to hear subtle sound manifestations.Try to pick up any sound and go on listening.You will find that one particular sound will become clearer and clearer;feel its intensity and purity.Concentrate totally on this sound and listen very carefully.If your hearing is sufficiently sensitive you may find that you can hear another sound in the background of the present predominant sound.It maybe very faint,but perceivable.Leave the first sound and concentrate on the new sound emerging behind it.Transcend the first sound;try to experience the fullness of the new or second sound.Prolong this way.Again with practice and if you have developed your sensitivity,you maybe able to hear another sound emerging.It will be faintly perceptible behind the louder second sound.Direct your awareness to this new sound.The more subtle the sound you perceive,the deeper you will delve into the depths of the mind.With practice this technique will lead you to meditation.If you cannot detect any subtle sound in your first attempt itself,don't despair;with practice you will surely make progress.
You will develop the knack of transcending first the external sound and then the progressively more subtle sounds.The sounds heard by the practitioner resemble those of bells,a lute,a bird chirping,veena,mridangam and so on.
This is a powerful yet simple method of revealing the experiences of your innermost being."
A CLASS TRANSCRIPTION IN NADA YOGA:-
"Sitting down to meditation,one must close his/her ears,with either index fingers or thumbs.Practising ujjayi with closed eyes;one should forget everything and keep breathing in and out in ujjayi in the spinal chord region.One should go on practising ujjayi with even greater concentration.
Plugging the ears,one must produce the sound of a humming bee and while producing the sound of a humming bee,one should mentally chant Om Om Om ..........
To understand the process better,1.first of all one should close their ears2.inhale in the form of ujjayi from the bottom to the top;3.then produce the sound of a humming bee-hummmmm....which should be continuous;4.while producing the sound,mentally chant Om Om Om...;5.practice the humming sound in exhalation;6.while inhaling it goes all the way up in the spinal chord in the form of ujjayi.
Inbetween if one is tired,he may rest his hands on his knees,but practice could continue even with ears open.
The important point to note is that the inhaling has to be done through ujjayi (via spinal chord).Secondly,with ears closed while one is producing humming bee-like sound (in exhalation),he has to mentally chant Om Om Om....If there is any other mantra one prefers to Om chanting,they could do the same,but the rule is to do it rhythmically.
After repeating the above process for many times,one has to stop humming and producing the sound.One must listen very carefully searchjing for internal sounds.One may listen to a second sound in the background of the first sound.It could be the sound of a bee;or a motor or the sound of ocean waves.But whatever may be the second sound,one should get tuned to it,letting go of the first sound.Again a new sound will emrge,it could be the first sound emerging or a new one altogether.Letting go of the first 2 sounds, one must concentrate on the third sound totally and absolutely.Like this one must go on for atleast 5 minutes.Each time a new sound emerges,one should concentrate on that.
Now,one should take his hands from his ears back to meditative position.Holding the body very still one should maintain the posture with eyes closed.This method is known as nadayoga;it brings down the nervous excitement and after this one can meditate on any form.Meditation is to be done within the inner walls of the forehead.The image or form which one wants to meditate is drawn on the inner wall of the forehead,as if it were a blackboard.Drawing the image,one has to concentrate on it fully.
The above process is also said to de-stress and rejuvenate a person,apart from being the practice of nadayoga.

Music of the Spheres/Celestial Music

"Music of the Spheres" is a phrase used by Pythagaros (ca.580-500BC),an early Greek mathematician and astronomer who was the first to discover a mathematical relationship in the frequencies of the various tones of the musical scales.

Material I could gather from various sources on Pythagaros and his contribution to music,and particularly ,celestial music:-

"Pythagaros and his followers believed that a Universal philosophy could be founded in numbers.According to him there were three forms of music:Music of instruments,music of human body and soul and Music of the Spheres (music of the cosmos).He was the first to establish the theory of strings as a tool for understanding the Universe.
When Pythagaros listened to a blacksmith's hammers pounding iron and producing a variety of reverbrations,he derived musical notes from the same.He analysed the hammers and realised that those that were harmonious with each other had a simple mathematical relationship-their masses were simple ratios or fractions of each other.That is to say that hammers half,two-thirds or three quarters the weight of a particular hammer would all generate harmonious sounds.He explained that if two strings in the same degree of tension were divided,one of them exactly in half,and when plucked,the pitch of the shorter string is exactly one octave higher than the longer string.He also discovered that if the length of the 2 strings in relation to each other are 2:3,the difference in pitch is called a fifth.He also taught that various musical notes had different effects on human beings and could also be used in healing people suffering from ailments.
In Astronomy Pythagaros taught that the Earth was a sphere at the centre of the Universe.He observed that the orbit of the moon was inclined to the equator of the earth.He taught that movements of planets travelling through the Universe created sounds that could be perceived by only those who were trained to hear them(this is the same anaahatha shabda that could be perceived only by yogis of high order at a very advanced stage of yoga).This music of the spheres could be replicated using a single string instrument called the monochord. The monochord was used for demonstration by Pythagaros to explain musical intervals and harmonics to his students."
Marsilio Ficino,(1433-1499),a humanist philosopher and astrologer observed that there was an essential congruity between the music of the spheres and the music of the human microcosm.When a person's soul is in tune with the Heavens it responds just as sensitively to the music of the spheres.
John Milton(1608-1674),the english poet said in his lyric poem"Arcades",Milton's genius of the Wood explains to an assembly of nymphs and shepherds how he listens to the music of the spheres at the end of the day."But else in deep of night,when drowsiness hath locked up mortal sense,then I listen to the celestial harmony."
Kircher ,a 17th century German Jesuit scholar said,"Tune the enneachord of my soul to Thy Divine will;play upon all the strings of my soul to the praise and glory of Thy name that I love Thee!"

Hazrat Inayat Khan/Saraswathi Veena

Hazrat Inayat Khan ,who was born in a family of musicians in Baroda on July 5th, 1882, was a sufi teacher from India who started the "Sufi Order in West"(nowcalled "Sufi Order International" in the early part of the 2oth century).Though his family background was Muslim,he was also steeped in the Sufi notion that all religions have their value and place in human evolution.
Very early in life Inayat Khan shaped into a versatile linguist with a remarkable mastery over a several languages such as Sanskrit,Gujarathi,Marathi,Urdu,Hindi,Persian,Arabic and English!Alongside his academic studies,young Inayat did excellently in the five years music course of the Baroda Music Academy and excelled in both instrumental and vocal music.What was more remarkable was that he excelled in both Carnatic as well as Hindusthani music.He composed beautiful religious songs and poured his soul into them as he rendered them.He wanted to attain God through his music.In 1909 he had recorded his music in India,during one of his concert tours.
During my brief stay in Delhi last year(during my husband's assignment in Jindal Steel),I had set out on a massive hunt for his recordings,but could not find them.I was pleased to find a book of his on music,in an old,dilapidated book shop in the middle of a busy market area,and that too in the basement!
What he said:-
"I GAVE UP MY MUSIC BECAUSE I HAD RECEIVED ALL I HAD TO RECEIVE".To serve God one must sacrifice the dearest thing,and I sacrificed the dearest thing to me. I had composed songs,I sang and played the veena; and practising this music I arrived at a stage where I touched the music of the spheres(I shall elaborate on this in my next posting).Then every soul became for me a musical note and all life became music.Inspired by it ,I spoke to the people,and those who were attracted by my music listened to them instead of listening to my songs.Now if I do anything,it is tune souls instead of instruments;to harmonize people instead of notes."
Legendary musicians, musicians who have been practising the art in privacy and away from the media/public glare,renowned and not so well-known teachers are all nada yogis even without intending to be so!The fire of knowledge has been kindled within them at some point of losing themselves (samyoga) in the sheer melody of their own music.The sadhana over a period of time ( it is not the period of time,but the intensity of involvement that matters) results in the practitioner becoming his music ("You become your subject").Hazrat Inayat Khan's statement in the same book-"I played the veena until my heart turned into the same!" bears testimony to the fact stated above.
I cannot help but understand the feelings of shock and remorse any musician could go through when he or she is unable to pursue nadayoga(due to ill-health/ageing/accidents/black magic by a third person),especially at an advanced stage.At this juncture, it is important to realise that the nada once established within,is bound to remain forever within them ,and that they themselves become the embodiments of nada.All the practice in the past would have accumulated the fire of knowledge within the core of their beings to lead them towards the most supreme of all nadayogas,"AUM".

Music Tantra/Ragas-Benefits.

Ragas yield various benefits!Most of the time,the names of the ragas suggest what they are capable of yielding.Careful analysis of the formula of the raga(Aarohanam/Avarohanam) also lend deep insight into the raga's tatwa(nature) and its capacity to grant a variety of boons to the practitioner.
Such effects of ragas were well understood and implemented by our saint composers in most of their compositions."Darini thelusukonti,Tripura Sundarini thelusukonti" by Sri Thyagaraja Swami has been composed in the raga SUDDHA SAVERI ("DURGA" in Hindusthani).The Hindusthani name of the raga is a give away of the Goddess forming the raga swaroopa of SUDDHA SAVERI.The fierce and protective Durga is materialised by practising the scale of Suddha Saveri.Sri Thyagaraja himself has conveyed through this raga that the path("Daari") to attain the Goddess is the raga SUDDHA SAVERI.
Similarly,the grand composition of "Devi Brova" in CHINTHAMANI by Sri Syama Sastri is yet another revelation that Kamakshi who resides in "Chintamani Gruha" resides in this krithi too.Tapas or japam (musical term of japam is "sadhana") of this krithi,bestows the grace of Sri Kamakshi.
A few ragas and there benefits are given below:-
VASANTHA:-New beginnings,promotion on the professional and personal fronts (enhancement of personal image).The Aarohanam,especially,the stress on Sa Ma Ga Ma(the long gap between Sa and Ma is a significant leap towards progress,aided and stabilised by Ga Ma.Practice to be done (till attainment of promotion or a new beginning) in the Aarohanam only.After achievement of desired objective,Avarohanam is practised for stability in the new arena.
BRINDAVANI:- Reconciliation.Prolonged sanchara involving the two nishadas thereby harmonising the two swaras bring together estranged couples or even friends / business associates.
BHAIRAVI,SUDDHA DHANYASI,KALYANI:-Spiritual upliftment.Many krithis on Devi have been composed in the above ragas.Kalyani is an embodiment of Amba,mastery of the same raga is equal to the attainment of the Grace of Devi.
SHAMA:-To curb anger and short temper.Sri Thyagaraja's krithi"Shantamu leka sowkhyamu ledu" reveals the raga's attributes.
SARANGA:-To de-stress and for severe depression.The Avarohana sanchara "Pa Ma2 Ri Ga Ma1 Ri" is the antidote for de-stressing and treatment of depression.
ANADABHAIRAVI:-For high blood pressure.
VALACHI:-To obtain desired object/relation.Sanchara of the entire scale while contemplating on one's desire.
SHANMUKHAPRIYA,KHARAHARAPRIYA:-To defeat enemies.
HAMSANANDI:-For valour. and to curb cowardly feelings and nature.
HINDOLAM:-For attracting masses.
KADANAKUTHOOHALAM:-For rejuvenation.
MOHANAM:-To attract particular person or relationship.
VIVADI RAGAS:-Confrontation,at times when subtle persecution is endured in silence.
GRAHA BHEDA,SCALE CHANGE IN RAGAS:-Unexpected changes in life/to escape from given situation or a tight spot.Shift-over to major scale is highly recommended(resulting in positive developments),shift-over to minor and melancholic ragas (resulting in negative changes)are to be avoided.Repeated sanchara at the point where the raga shifts to a different scale and the corresponding octave will yield desired results.
SUVARNAANGI:-For strong limbs and joints.Very good for treatment of rheumatism and arthritis.
NAYAKI&DARBAR:-For hormonal imbalance. For the balance of yin and yang(feminine and masculine factors in one's body and mind),both ragas are to be practised together.Sri Dikshitar's krithi ,"Ardhanaareeswaram"in the raga Kumudakriya is an excellent antidote for hormonal imbalance.
MALAHARI:-Purification,cleansing of sins,release from the cycle of births and karma.
SAHANA:-To treat hyper-activity,for relaxation.Tranquliser.
NEELAMBARI:-Tranquiliser,for inducing sleep.
AMRUTHAVARSHINI,MEGH MALHAR,MEGHA RANJANI:-To bring rains.
KAMAS:-For love and romance.
KANTHAMANI:-To enhance feminine nature,attraction and magnetism.The closely woven"Ma Pa Dha Ni" denotes the intricacies of woman's mind,"Dha Ni Ri..." - coyness,"Pa Ma Ga Ri Sa"-yielding.
OMKARAM in pure Adhara sadjyamam:-To dissolve all qualities for realization of the 'nirgunatwam" of Atma(soul).
There are many more ragas that yield different results and benefits.There are also unexplored avenues such as effects of octaves and swaras on human beings.

The Divine as the Embodiment of Sound!

The great south Indian mystic,Saint Thyagaraja has described God as the divine sound to be realised through nada yoga:-"In this great uproar (KOLAAHALAA) of the three worlds created by the play of the Lord whom Sri Thyagaraja adores (RAMABHAKTHI SAAMRAAJYA) is the Empire of those who attain enjoyment of it(sound),O Mind!"
Sri Thyagaraja calls Rama (The Divine) the Embodiment of Sacred Sound.Many centuries before the Vedas expressed the concept that the creation of the cosmos is founded upon sound.This is found also in other religions.In the beginning was the Divine Sound,the Word,
the Omkara,the Creative Voice,the Voice of God.
Sri Shirdi Sainath referred to the sound of the drum of the beginningless eternity within the soul,which is mentioned by the yogis as "anahat" and by the Sufis as "Sant-E-Sarmadi".This Anahat sound emerged from Baba's heart,from every limb,every bone and pore of His body.(courtesy:Shri Chandrabhanu Satpathy in Sai Arpana,July 1995.)
Even the saint composer-mystic,Sri Purandara Dasa has said-"First you will have a foretaste of Anahata sound and then you will be able to drink larger and larger amounts of it!"
FEUERSTEIN/DICTIONARY OF YOGA:-
NADA-SPHUTATVA:-Explosion of the inner inner sound in the Hatha Yoga Pradipika as one of the signs of perfection.
NADAYOGA:- It is a prominent teaching in the Upanishads of yoga.It is already reffered to indirectly in the Maitrayaniya Upanishad which speaks of those who listen to the sound(shabda).
NADABINDOPANISHAD:-One of the yoga Upanishads expounding nada-yoga.The inner sound,nada,is stated to be the vehicle that will transport the yogin beyond the ocean of phenomenal existence.It drowns all external noises and focuses the mind.The practice of Vaishnavi mudra is recommended.
VAISHNAVI MUDRA:-It is explained in the Shandilya Upanishad as "baahir-drishti" with "antar-lakshya"(internal attention,external gaze)while the eyelids do not shut or open.The Nada Bindopanishad stipulates that this technique should be practised for the manifestation of Nada(the unstruck sound).
SHAMBHAVI MUDRA:-Mind and breath should be absorbed in the antar lakshya with open eyes fixed without looking at anything.Otherwise,with baahir-lakshya such as gazing at a source of light.The ascent into the higher dimensions of sound bestows yoga-siddhi and gives to the yogi complete knowledge of the past,the present and the future.
Sri Janaki Mata of Tanjore(disciple of Bhagavan Sri Ramana Maharishi) started from Tanjore to Tiruvannamalai in the car with another devotee of Bhagavan.While the car was speeding through deserted roads the second devotee heard continuous sounds of temple bells.She looked puzzled as there were no temples or houses in the vicinity and enquired of Sri Janaki Matha as to the source of the sound.Sri Matha replied:"The sweet music ringing in your ears and the sound of bells do not come from any extraneous sources.They all emerge out of me." She was made to drink the sweet nectar of sahasraara dripping through the ambrosial orifice.
Practice of divine,carnatic music and compositions of saint composers in the brahma-muhurtham (between 4 a.m. to sunrise) is the best form of nada -yoga and such steadfast practice of VEENA,flute,mridangam or any instrument and vocal music will awaken the anahata nada within and as one attains sidhi,he or she will listen to extraordinary and celestial tones and prayogas of particular ragas that will become difficult to retain in the memory, for the purpose of repeating the same conciously!

Nada Yoga

Sri Saraswathi Mata,the Vak Devi:Goddess of speech and music,playing the veena(SARAS:river,flow,mother of all words and sounds).
VAK=The Voice Of God.VAK=VOX(Latin)=VOCE(Italian)=VOIX(French)=VOICE(English).
The Saraswathi-Rahasya Upanishad refers to the three phases of speech:para-pashyanthi-madhyama,which are beyond the superficial level of Vaikhari,the only one known by mortals.Sadhana is aspiration to know the secrets of speech beyond Vaikhari by purification of mind.When the faculties of the aspirant are sharpened by the sadhana;words uttered by him will be poetry to the world.He will be able to wield the power of words.
The unmanifested,unstruck divine melody or shabda is referred to as Kalma or Kalam in the Holy Quaran,in the Holy Bible as the Word or Logos.It is the sonorous light.The Sarosh of the Zoroastrians.The Akashvani or Devavani 0f the Hindus(Voice or music of the sky,Celestial Voice,Music of the Gods).The Divya-Dhwani of the Jains.It is also known by the saints as Vani(voice),Anahata-nada(unstruck sound or melody),Nada and Shabda(word and sound).
Muslim mystics called it Nida-i-asmani(call of the Firmament),Nida-i-Sultani(call of the Emperor),Bang-i-asmani(sound of the skies),Kalam-i-Elahi(word of God),Ism-e-Azam(The greatest divine name).Kabir and some saints have described Shabda or Naam as the invisible string along which the soul can climb back to the Lord.
Nayanmars(Saiva-Bhakthi-Tamil):
According to Sundarar,Lord Siva is the embodiment of the Sapthaswaras,the seven notes.Appar said that spiritual freedom belongs to those who glorify Him as the being who vibrates through out the Universe and in every soul.Mannickavasagar exhorted Siva's devotees to "Behold Him Who is inherent in all creatures.like sweet music in the veena!"

THE TAOISTS:Taoists were well aware of the fundamentalvibration of life,
Lu Yen says in his celebrated "Hundred -Character tablet,"You sit and listen to the stringless tune,you clearly understand the mechanism of creation!"Comments the great Chang San-Feng:"You hear the sound of the music of the immortals,and there are also the tones of bells and drums and the mind becomes open and clear.You see for myriad miles."
In Taoist meditation the sound of the thunder in the head(Thunder in the sky)is a sign of energy reaching the Upper Elixir Field.For the Taoists and the Indian Yogis alike,Thunder announces the coming of rain:
"Everywhere the sound of Thunder
Clouds assemble on the summit
Sweet dew bathes the polar mountain."(Lu Yen)
THE WORLD OF SHAMAN:The Sound Of Celestial Beauty(from:Dreamtime&Inner Space)
"We have seen that the apprentice,in the case of many Shamanic initiations spontaneously breaks into a song after his transpersonal experience.According to the findings of modern research,people who had near-death experiences heard what they described as music of the spheres,sounds of indescribable beauty that pervaded the whole atmosphere.In fact the atmosphere itself appeared to be pure sound.The experience of the environment as a vibration of sound,like other synaesthetic experiences,is a well known phenomenon of altered states of conciousness.
KUNDALINI STAVAHA of the RUDRAMALA TANTRA:
"Vani-Koti-mrudanga nada madana
Nishreni Koti dhwani praaneshi rasa-raashi mula kamalollaasaika poornaanana
Aashaadhodbhava megha-raji-janithadhavaantanana sthaayini maata sa paripaatu sookshma pathagaa maam yoginaam Shankari."
To hail Her(Kundalini) arise innumerable sounds(Koti-Nada)
Koti-Vani=innumerable voices
The sound of drums and other instruments
Emanating(nishreni)millions of resonances(Koti-dhwani)
Intoxicating in nature(madana)
Ruler of the Prana(praneshi)
Ocean of Rasa(elixir),rasarashi
Her face like a blooming lotus
Full of splendour(ullasa)
Her face is dark like the darkness of a multitude of clouds in the month of Ashadha.
She is the support of all.
Let that Mother (Kundalini)who travels the subtle path(sushumna)
Protect me from all sides!
When Maha Shakthi is pleased with a yogi,she gives rise in him divine sounds of kettledrum,mrudangam,veena,bells and so on,and makes him experience supreme bliss.

Nada yoga

Hazrat Inayat Khan,Saraswathi Veena Yogi says-"The music of Universe is the background of the small picture that we call music.Our sense of music,our attraction to music,shows that there is music in the depth of our being.Music is behind the working of the whole Universe.Music is not only life's greatest object:it is Life itself.Hafiz,the great and wonderful Sufi poet of Persia says:Many say that life has entered the human body by the help of music,but the truth is that Life itself is music. "
NADABINDU UPANISHAD-There is no mantra greater than nada,which mixes with the breath and stabilises it.
BHAGAVAN RAMANA-Just as a child is lulled to sleep by lullabies,so nada soothes one to the state of samadhi.
The sound of the abstract is called "anahat" in Vedas,meaning the unstruck sound.Sufis call it Saut-E-Sarmad.
LAHIRI MAHASAYA wrote to a disciple-When a seeker is established in samadhi,his practice becomes natural and spontaneous.Effort is shed,and without even practising the meditation,he enjoys its benefits.LISTENING TO THE INNER SOUND ,the seeker actually sees Gods,seers,and sages of the past in the spiritual eye.(from:Life surrendered in God by Roy Eugene Davis).
PYTHAGAROS,Greece,5th century b.c.-There is geometry in the humming of the strings.There is music in the spacing of the spheres.
Effects of Nada according to Hamsa Upanishad-1.Tremor2.Production of nectar3.Enjoyment of nectar4.Acquisition of secret knowledge5.Higher speech6.Vision of distant things7.Invisibility8.Identification with the Absolute.Hamsa Upanishad, furthermore,compares the nada to a snake charmer since it captivates the fickle mind.
ZOROASTRIANISM-In Zoroastrian religion,heaven has been described as a bright,joyful place where everything is imperishable and perfect.In some Pahlavi texts,the Zoroastrian concept of heaven is described in four stages:1. The place of good thoughts2.The place of good words3.The
place of good deeds4.The fourth and the final stage was called Garothman,The House of Light and Song which was considered the Abode of Ahura Mazda.