Female Deities/ Tattwas

We propitiate to a deity by chanting related slokas (ashtotharams, nama japams, saharanamams or even meditation on the chosen deity).

Veena And Acoustics

(Published in The Hindu, issue dated 31/12/2010)Veena and acoustics
The primary aspect of concert acoustics is the microphone. Very often, veena artists are faced with the outcry, “Why do you need a contact mike? It distorts the tone of the veena.” For a veena concert to make an impact, the instrument should have the throw and power of a human voice. Whether in a closed auditorium or in open air, the music should basically reach out. Veena being a soft string instrument, a voice mike would make it sound feeble especially in a large concert hall. Even worse, the nuances that bring out the beauty of the instrument do not reach the audience in totality. This is the reason most veena artists resort to a contact mike.
Choosing the right contact mike can be a difficult task since its technical specifications and placement on the surface of the ‘ kudam' or inside the veena are the key factors that determine its compatibility with the instrument. Compatibility of a mike with the instrument can be defined in terms of the ability of the mike to amplify the true tone. With the advent of digital mike-mixer combinations, it is possible to increase the bass or treble content causing the veena to sound either like a bass guitar or a sitar. It is also possible to introduce distortion, leading to the lo-fi type of jarring electronic sound. These techniques can be used cleverly to alter the veena's tone. The need for conveyance of the true tone of the instrument is more of a personal prerogative and a question of artistic integrity.
While the onus of good acoustics in a concert is on the contact mike, the final amplification provided in the concert hall also bears considerable significance. In the older “valve” type of amplifiers, which only had a volume and tonal control, there was little room for dramatically changing the way the veena ultimately sounded although the amplification was feeble. Now that high performance processors are available, while very solid amplification is possible, the sound engineer might inadvertently tamper with the instrument's tonal quality by setting the wrong controls.
Other contributing factors are the construction of the hall for minimisation of echo, maintenance of optimal temperature and illumination levels. Very often, the temperature in the hall is reduced, increasing the tension and hence, the pitch of the veena strings. In contrast to this, the high intensity lighting loosens the strings. Both of these factors do not cancel out each other but cause vacillating shrutis in the veena, making it possible to produce errant notes every now and then thus demanding extreme concentration.
The choice of the right microphone for the veena brings out the vocal or gayaki style of presentation, in other words, the instrument gains the capacity to equal the power of a voice. In such a case, the popular notion that the accompanying percussionists (such as mridangam artists) need to subdue their performance in order to avoid drowning out the sound of the veena becomes antiquated. The accompanying artists are able to use the same vigour as in vocal concerts due to the enhancement of the tone of the veena with the help of the right type of contact mike.
(E. Gayathri is a noted
veena exponent)

Karthika Guruvaaram

My Guru, late Sri.T.M.Thiagarajan.

TIME

"Bhgavad Gita (11th Chapter-32nd Verse)

"Kaalosmi Lokakshayakruth Pravrudhdho
Lokaan Samaaharthumiha Pravruththaha.
Rutheypi Thvaam Na Bhavishyanthi Sarve
Ye 'Vasthithaah Prathyaneekeshu Yodhaaha"


Meaning: Lord Krishna stated: Time I am, the great destroyer of the worlds, and I have come here to destroy all people. With the exception of you (the Paandavaas), all the soldiers here on both sides will be slain."Kaalosmi" (I am TIME), Lord Krishna stated in Bhagavad Gita. Any mantra yields sure and fast results when recited at the same time everyday. As God and Time are one and the same, a time-conscious mantra becomes power-packed due to the grace of God and yields amazing results. Time is God and the needles on a clock are to be regarded as the representatives of God!
Timing of the mantra is very important, if somebody is able to recite the mantra only at 8.00 am everyday, it is advisable to maintain the same time everyday for the enhancement of the mantra-power. There are people who recite mantras at 12 noon sharp when all the three needles on the clock join together. Late Sri.Kama Sastri, music director and conductor of Vadya Vrinda, All India Radio, Chennai used to bring work to an abrupt halt at 12 noon to observe a minute's silence for offering prayers. There are many who keep awake at 12 midnight to repeat the recitation for further power-inducement into their mantra (it is best if the mantra is given by a spiritual Guru or a Srividya Upasaka if it is a Devi mantra). I have known few devotees who recite the same mantra four times in 24 hours, at 12.00 midnight, 6.00 am, 12.00 noon and 6.00 pm everyday.

Ultimate Bliss

Ananda Acharya on Rest

You need rest, perfect rest. There comes a time in the life of man when the body and the brain and the mind want to feel the stillness of the Universal Spirit. Then, the best thing is to do nothing, to think about nothing. That takes away all misfortune, that cures all disease, that soothes all sorrow, that alone makes man whole again.

Ananda Acharya, Yoga of Conquest (Hoshiarpur, India: Vishveshvaranand Institute, 1971) pp. 33-34 [February 29, {1924}]

Rama Nama.

"Ram" has more than one application in Sanskrit. It is the "Beeja Mantra" (seed sound) for the manipura chakra (solar plexus chakra). Manipura could be translated as "City of jewels". Meditation on this chakra yields occult powers and this is one of the important chakras responsible for radiating 'prana' or life-force energy throughout the body.
By reciting the mantra, 'RAM' the manipura chakra is activated to be able to handle the flow of kundalini energy.
Secondly, 'Ra' and 'Ma' that forms the name 'Rama' are interpreted as follows: 'Ra' which is associated with the solar energy flows through the right side of the human body whereas 'Ma' which is associated with lunar energy flows through the left side of the human body. Repeating the mantra, 'RAMA' (even mentally) one is able to balance the solar and lunar energies for sound mental and physical health. Sidhdhi of Rama Nama blesses the entity with spiritual powers and elevation of soul.

Following are 3 powerful Rama Mantras:-

1)Om Namo Bhagavathey Raghunandanaaya Rakshognya Vishadaaya Madhura Prasanna Vadanaaya Amithatheyjasey Balaaya Raamaaya Vishnavey Namaha Om!!

The above sloka if recited one lakh times will grant "mantra-siddhi".

2)Om Kleem Namo Bhagavathey Raamachandraaya sakalajana vashyakaraaya Swaaha!!Above sloka is meant for general success and attraction.

3)Dasha Raama Naama Sthothram:-

Dhyaayaami RAAMA MabhiRAAMA
GiRAAMAranda DhaaRAAMAdhagna
MithaRAAMA MareyrviRAAMAm
AaRAAMA Madbhutha ThaRAAMAlasadgunaanaam
GhoRAAMAyagnya MasuRAAMAravandithaanghrim!!The above if recited yields the benefit of chanting the powerful name of Lord Rama ten times within one sloka,

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.

Radhey Radhey!

15/09/2010,Jyeshta Nakshathram, Ashtami Tidhi.
Divine Birth of Radha.

















Radha-Gayathri:-
Om Vrishabhaanujaaya Vidmahey
Krishnapriyaaya Dheemahi Thanno Raadhaa Prachodayaath!

Popular Radha Bhajan by Shradeya AcharyaGaurav Krishnaji Maharaj

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.

Aadi Pooram - Ariyakudi

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Above is a photo of the street on which the Carnatic Music Emperor, Sri. Ariyakudi Ramanuja Iyengar lived. The first photo is of the legend himself.

I had performed in the Vairavar Temple (Kala Bhairavan) in Vairavanpatti on Aadi Pooram (August 12th). As it is a small, remote village my mother and I had to stay in Kaaraikudi which is around 15 kms from Vairavanpatti.That day being Andal Jayanthi, in the morning my mother and I went to Ariyakudi (5Kms from Kaaraikudi where we stayed) to Lord Venkateswara temple (famously known as "Thenn Tirupathi"). I asked the temple priest to give me guidelines to go to Sri Ariyakudi Ramanuja Iyengar's house. I was eager to see where the Monarch lived. Saying "Vaango" the temple pujari walked with me all the way outside the temple and pointing towards the opposite street he told me, "Ado avaaloda veedu inda theruvule daan irukku!"
Awestruck,I stared at the street. From there I clicked with my mobile.

Miracles of Veena

ESOTERICISM OF VEENA-

Maithraayanniya Upanishad states-"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 base fret of the veena."

The different properties of the woods used have an effect on the tonal characteristics of the veena. The grain pattern of the jackfruit wood used is important for veenas. The choice of wood plays a vital part in the aesthetics of the instrument.
Veena playing is not only about chemistry between 'nadam' of the veena and 'life-force energy' of the player. The interaction between human-body cells and the wood grains in the veena are equally thought provoking. Coming to think of the interaction between cells and grains/ 'nadam' and kundalini', we are able to understand how types of veena affect the player. The veena, appearing deceptively innocent has a potent nature and life of its own which can directly affect the player (provided he/she adapts the posture and breathing patterns required for veena-playing).
Continuous practice on a good veena (wood of fine quality due to seasoning at spiritual places, temples, on the banks of holy rivers or under a banyan tree, thereby devoid of doshas) yields results corresponding to the nature of the veena such as- sudden spurt of energy, sense of positivity, improvement in complexion, lush hair growth (in the case of middle-aged and the old, reduction in hair fall), shedding fat, agelessness, youthful looks etc. Playing on such veenas bring about good fortune, spiritual elevation and general prosperity. While such is the case with good veenas, one should watch out for any untoward events, ill health, bad luck, general disharmony, deterioration in physical complexion/ lack-lustre looks, fatigue, depression etc while playing on certain veenas. While all events and circumstances in life cannot be attributed to the veena one is handling, continual turn of bad events or atmosphere could certainly be attributed to the veena one is handling at the time of occurrence of bad happenings. This could be due to doshas in the wood, alignment of the frets (bad 'melam' of the veena dandi) etc. I have seen a veena that was made only on full moon nights. The veena maker would keep the wood aside on all other days except full moon nights to periodically transform the wood into a veena. Such veenas contain great spiritual powers and also lend a heavenly glow to the player.
Even the size of the veena plays a major part in affecting the player. It is essential for the player to feel comfortable while running his left hand across the dandi and plucking the strings with his right hand. Any strain on his/her biceps, elbows, hands and the chest region means the veena he/she is handling is not the corresponding size of the player. Normally a Saraswathi veena measures roughly upto 24 and a half 1/2 inches from the base note to the top note and 4 and a half feet from the simha mukha to the end of the kudam. Any addition or subtraction even by an inch or two to the length of the veena could be due to the size of the kudam (right side of the veena), resulting in an overall distinction in size yielding corresponding effects on the player. An ideal veena merges with the player to become his/her extension.