Asai Mugam - Mahakavi Sri Subramanya Bharatiyar

 

Dikku Theriyatha Kaattil

 Dikku Theriyatha Kaattil - Mahakavi Subramanya Bharathi - Ragamalika - Adi

RADHASHTAMI - 23rd September, 2023

RADHA MUKHA KAMALA - PAPANASAM SIVAN - KAPI - ADI

HAPPY VINAYAKA CHAVITHI!!

 

HAMSANANDHI/HINDOLAM

 

RANDOMLY RECORDED DURING PRACTICE ON 1ST APRIL, 2023 

Main Scale (main ragam) is Hamsanandhi, Hindolam is derived through graha bhedam by deleting the shadjamam of Hamsanandhi and adapting the rishabham as shadjamam.

Please note that the recording starts midway from the graha bhedam (Hindolam) and ends by merging with the main ragam Hamsanandhi.

Ragams of Sri Srinivasa Gadyam (SHOKAVARALI/MADHYAMAVATHI)

 SHOKAVARALI/MADHYAMAVATHI

RAGAMS OF SRI SRINIVASA GADYAM (recorded on 18th March, 2023, Saturday, Ekadasi, Sravana Nakshatram)

The avarohanam of Shokavarali can be compared to the knight's moves on a chessboard. Complex and restrictive. On the bright side the avarohanam by itself is an alaap. I have merely shown the arohana-avarohanam of Shokavarali. 

(Reference- Hema Ramanathan's Raga Lakshana Sangraha about Shokavarali-spelt as Sokavarali).

Ascent- S G M N D

Descent- P M G R M G R S.

Shokavarali is a janya ragam of Dhenuka. The raga in arohanam does not touch the top Sa. The raga Shokavarali, like its name has heavy undercurrents of pathos. I found this ragam appealing on the mandhara string (thrid base sarani string). Just like how a person who is deeply steeped in misery is unable to find relief, Shokavarali does not allow the relieving top note of shadjama to be touched. The person is depressed and gets into more complications depicted by the descent of the ragam.

Interestingly Sri Srinivasa Gadyam ragams are a mixture of different ragas expressing variety of emotions, All emotions which originate from God find their destination in Him. 

CHANDRAJYOTHI/GAMBHIRA NATA

CHANDRAJYOTHI.

CHANDRAJYOTHI IS JANYA OF PAVANI. (GAMBHIRA NATA IS DERIVED THROUGH SRUTHI BHEDAM BY ADAPTING SHUDDHA GANDHARAM AS ADHARA SHADJAMAM AND AT THE SAME TIME BY DELETING THE ADHARA SHADJAMAM OF CHANDRAJYOTHI ).

 Chandrajyothi Arohanam- S R1 G1 M2 P D2 S

Avarohanam- S D2 P M2 G1 R1 S

 

Om Aim Hreem Shreem Shashaankasekhara Praana Vallabhaayai Namo Namaha.......

          HANDWRITTEN BY SMT. KOORMANAYAKI

(Mobile recording at home, Chennai on 11th February, 2023)

This ghazal-style-romantic devotional song is penned by Sri. Basavaraju Apparao.

Music is by the legendary Sri. Voleti Venkateswarulu and originally sung by melody queen Smt. Vedavathi Prabhakar and broadcast by All India Radio, Vijayawada in the 60s.

This haunting melody tempted me to me to try it out on Veena (impromptu) during my practice which I casually recorded on my mobile phone. The melody brought visions of love between Lord Shiva and Goddess Parvathi in Sri. Kalidasa's Kumarasambhava.

Kumarasambhavam-

Upaathavarne Charithe Pinaakinaha Savaashpakanthaskhalithaihi

Aneykashaha Kinnararaajakanyaka Vanaanthasangeethasakheerarodayath.

Meaning- Parvathi was going to the woods for learning music with Kinnara maidens who are famous for their sweet voices and knowledge of music. There they all used to sing in praise of the heroic deeds of Shiva. The songs used to make a powerful impression on Parvathi, that she often wept and could utter only faltering words, her voice being choked with tears. The princesses of Kinnara, sympathising with the lovelorn Parvathi wept along with her.

KURAI ONDRUM ILLAI-2023

 For Saket Pranaam, senior citizens home, Hyderabad,Telangana.

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.

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.)

Smt. KALPAGAM SWAMINATHAN

 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.

 

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."

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.

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.

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).

Sudarshana Chakram- Veena

SRI SUDARASHANA CHAKRAM OF LORD RAMA, BHADRACHALAM 

76th Sloka from Sri Sudarashan Sathakam:-

76) VAANEE POURAANIKEE YAM PRATHAYATHI MAHITHAM PREYKSHANAM KAITABHAAREYEHEY 

SHAKTHIRYASYESHUDAMSHTRAANAKHAPARASHUMUKHAVYAAPINEE THAVIBHOOTHYAAM 

KARTHUM YATTHATHVABODHO NA NISHITHAMATHIBHIRNAARADAADYAISHCHA SHAKYAHA 

DEIVEEM VO MAANUSHEEM CHA KSHIPATHU SA VIPADAM DUSTHARAAMASRARAAJAHA.

Meaning-This slokam reveals where the 'tejas' and the 'Shakthi' of Sri Sudarashana Chakra Rajan are concentrated.

The benedictionis-" SA: ASTHRA RAAJA: VA: DEIVEEM MAANUSHEEM CHA VIPADAAM KSHIPATHU". (May Sri Sudarashana Chakram , King of weapons chase away the dangers that originate from Devas and human beings!)

Scriptures reveal that (Vaanee Pouraanikee Yam Prathayathi) Sri Sudarshana is the sankalpa (resolution) Shakthi of Lord Vasudeva who resides in Vaikuntham (Mahitham Preykshanam Kaitabhaarey:), Sri Sudarshana's power resides during Ramaavataram in His arrows, in His canine teeth during Varaahaavataram, in His nails during Nrusimhaavataaram, in His axe in Parashuraamaavataaram and in the appropriate weapons He chooses for other avatarams. For instance, in Vamanaavataaram His Shakthi entered the 'pavithram' that He was adorning. The true form and inherent nature of Sri Sudarashana is difficult to comprehend fully even by sages like Narada (Yath Thathva Bodha: Karthum Nishithamathibhi: Naradaadyaishcha Na Sakya:) May Sri Sudarashana banish all dangers (Dustharam) that are 'Deivaadeenam' and 'Manushyaadeenam'. (Thank you for the meaning www.sadagopan.org) 

The above 76th slokam of Sri Sudarashana Sathakam  was given to me by a senior Archaka in Periya Perumal temple in Srirangam. The slokam not only started with "Vani" (indicating Veena), the slokam clearly states that Sri Sudarshana becomes the core of the main accessory used by every avataram. As the embodiment of Shakthi and Tejas, residing in the accessory used by the respective avataram. Sri Sudarashana by connecting Himself through the article/accessory becomes the source of power of the avataram. 

Therefore, Veena being the source of power (Shakthi and tajas) for all Veena players, chanting of the above enhances the tejas multifold.

TEMPO AND STRUCTURING.....

The three gems in the first video and the Hindolam Thillana in the next video are structured by Sri.TMT in his unique style. He used to be very particular about the gradual and striking improvisation of the structure of compositions and raga/thanam/kalpana swaram/neraval essays.

In my days of learning from Sri.TM Thyagarjan legendary musicians used to drop by for his guidance in structuring krithis, varnams, etc. TMT "padantharam" lies in his formidable discipline in maintaining the tempo and structure of presentation.

With TMT Sir after my learning session (90s)

Acoustic/Non-acoustic pickups

VEENA SASHANK MALLYA

Sashank Mallya, a graded Veena artist from All India Radio, Chennai is a bright star in the field of Veena. Having had his earliest training from age 6 under his Veena Vidushi mother, Smt. NVS Radha and later on from under Veena Vidwan GRS Murthy and Veena Vidushi Smt. Revathi Srinivasan, Sashank adapts the gayaki style (vocal style) of playing the Veena.

Talented and aesthetic in his musicianship and technique, he is a noted Vainika who has performed in prestigious festivals and organizations. He is winner of a gold medal from an esteemed sabha in Guntur AP, an endowment award from a leading sabha in Chennai and recipient of Central Government Junior Scholarship (2010-2015) and CCRT scholarship to young artists in 2019.

Sashank is also pursuing Audio Engineering under Sri Baba Prasad, who is the only waves certified instructor in India at Digi Sound Studio. 

 As a Veena artist and an audio engineer in the making, Sashank is perhaps the most authentic source in the field of Veena for information about Veena pickups. In the above video he has demonstrated the usage of various mikes, including acoustic and non-acoustic mikes. The intent of my many articles in showcasing the difference between acoustic and electric Veenas and how an acoustic Veena is reduced to a non-acoustic instrument by using a non-acoustic mike is clearly demonstrated here.

P.S- I vote for Schaller Oyster!

SRIVIDYA VEENA (5)-KUNDALINI YOGA (SARASWATI VEENA-25)

 GODDESS KALI INDICATING THE TREASURE BEHIND UVUULA

THE UNITY OF THE TIP OF THE TONGUE WITH THE UVULA (LITTLE TONGUE) IS SYMBOLIC OF LOW ENERGY UNITING WITH SUPER CONSCIOUSNESS. THIS IS THE UNION WHICH PRODUCES THE AMRUTHAM (NECTAR).

The Inner Veena (Human Spinal chord)- I realized that the mantropadesham (initiation in mantra) I had received from the Shankaracharya of Shakatapuram Mutt and the Khechari Mudra upadesham from an unknown yogi in Tiruvannamalai were meant for the activation of the 'vina' of Upanishads (veena dandi which is equal to the human spinal chord).

The Veena Syamala mantra as well as the khechari mudra tap the kundalini energy raising it upwards from the muladhara to the sahasrara chakra through the sushumna nadi. Veena, when played with involvement gradually slows down the inhalation and exhalation of the player. As the breathing slows down even further, the sushumna nadi (between the ida and pingala nadis) is activated. Khechari mudra, which is a hatha yoga practice activates and elevates the kundalini shakthi. Khechari mudra's main objective is for the tip of the tongue to touch the uvula (little tongue) or even further behind into the nasal cavity. By achieving this,  one is able to direct the pranic energy from senses into the spinal chord and from there draw it upwards through the chakras towards the ultimate bliss of Universal Consciousness.

In one of my innumerable meetings with Sri.Sivananda Murthy of Bhimli, he told me there was another method to activate the uvula centre. He showed me the image of Goddess Kali. He said practice of putting out the tongue as further down as possible, and vocally hitting the lowest octaves (never mind the guttural sounds) and by sustaining the notes for long periods one can open the storehouse of Universal Knowledge which is locked right behind the uvula!!