WITNESSING ONESELF

There are people who are disciplined, a few who despite immense wealth and prosperity follow a strict routine of God worship and meditation.

But will they be able to maintain the same discipline during a time of crisis?! That's when the mettle is tested. The real test to one's integrity lies in one's ability to unwaveringly conduct the disciplined routine of pre-crisis even during the time of crisis. 

The following is a great practice-

The Higher Self within ourselves is God or witness. The practice of withdrawing ourselves into the brightness of the Higher Self within and to start witnessing everything around including our own selves reveals the light at the end of the tunnel. 

The light at the end of the tunnel gets brighter as we gradually begin to realize the fact that our  namesake could be anybody or everybody else and not necessarily the bodies we are identifying ourselves with. As soon as this realization dawns on oneself,  bouquets or brickbats; adulation or assaults; justified or unfair....all will cease to touch oneself.

Nothing can affect ......really......it's a blissful state of detachment.....

WISH FULFILLMENT!

HIRANMAYEEM LAKSHMEEM- RAGAM-LALITHA, THALAM-RUPAKAM, COMPOSER-SRI.MUTHUSWAMY DIKSHITHAR.

Playing this on Veena along with sahithyam (lyrics) for 40 days without break will yield unexpected abundance, fortune and wish-fulfillment.

DURGA SAPTASHATI (11th Chapter)

DURGA SAPTASHATI 11th CHAPTER FOR RAHU MAHADASHA/ANTARDASHA PERIOD. 

Listening or chanting the above everyday enhances native's natal chart's benefic Rahu or mitigates malefic Rahu results during Rahu Mahadasha/Antardasha period as well as during Rahu transits.

GURU VANDHANAM

My Guru, late Sri.T.M.Thiagarajan was an expert composer of krithis, varnams, pallavis and structuring krithis. His compositions of chittaswarams were admired by musicians and scholars. Many seasoned musicians perform his chittaswarams and compositions in thier concerts.

Above is a very humble offering of his chittaswarams through my album VEENA VANDHANAM for Geethanjali Audio (recorded in the 90s). Mridangam- Sri.R.Ramesh, Ghatam- Sri. Ghatam Karthick

Gems of Swathi Thirunal

 

FUSION ALBUM IN COLD STORAGE- 1) PARIPALAYAMAM-REETHIGOWLA, RUPAKAM. 2) PAHI JAGATJANANI, HAMSANANDHI, ADI.

This album containing 15 numbers with jazz orchestra was recorded more than 2 decades ago but never found its light. Above are 2 numbers from the unreleased album.

P.S- This is a raw product, as you can make out that the sound and pitch levels have not been balanced. The final mixing of the product has never happened so far.

My Veena was recorded alone to the metronome beat. The body of orchestra was added later on to the skeleton of my Veena. I was told that the lead guitar solos were played by Keith Peters.

Kindly pardon uneven pitches and sound levels- E.Gayathri

SARASWATI VEENA-20

'KALI', the name of my first acoustic Saraswathi Veena on which I have played for many thousands of hours (from the 60s).

SARASWATI VEENA, THE ONGOING IDENTITY CRISIS-

This is an era of Electric "Veenas". My articles on hard work and rigorous practice which are applicable only to acoustic Veenas may appear strange and seem like brouhaha over nothing in a scenario where the fast and flirtatious Electric "Veenas" are made easily approachable and manageable.

Labour and penance on Veena are required only in the case of acoustic Veenas in order to bring out the true resonance of their wood properties that are responsible for producing the true tone of Veena, celebrated as "Veena Nadham".

In the absence of Veena's acoustic features the tattva (nature) of the artist neither connects itself to the Veena nor is it duly projected by the instrument. Therefore all the Electric "Veenas" (due to usage of magnetic mikes) have a uniform tone of an alien combination of guitar-gottuvadhyam-sitar.

The tone of an Electric "Veena" (passing off under the name of Saraswathi Veena), is entirely controlled and managed by the mike system (sans the acoustic features of Veena) lending an artificial razzle-dazzle comparable to the glitter of imitation jewellery (the true tone of acoustic Veena being the 24 carat gold).

These "Veenas" are also designed to facilitate any speed and comes in all shapes and sizes, including the normal size. They are not only travel friendly, these "Veenas" do not require the hard work an acoustic Veena demands. Electric "Veenas" are quite easy to handle with the mike (instead of the player) taking all the burden of glamourizing the tonal output.

While the field of music and social media are flooded by Electric "Veenas" played by all and sundry, only a handful are acoustic Veena loyalists. Out of the Electric "Veena" players only a few stand out, and that too only for their "bani" (style of school) and "vidwat" (musicianship). Therefore the responsibility of identifying a real Saraswathi Veena lands on the music lover or aspirant.

The Power Of Srimad Bhagavatham

OXFORD STREET, LONDON, 1995-

The Gorakhpur publication of Srimad Bhagavatham was quite a large and heavy book.

"It's only a 2-week trip, don't carry such a heavy book. You already have a Veena and this book is going to increase the baggage weight." My husband's advice made sense.

I started reading Srimad Bhagavatham a week ago with a determination to read it everyday. I didn't want to break the pattern at any cost even if it meant carrying the huge book with me to London.

"But how can I stop reading? I'll try to read at least one page everyday during the trip."

In the end my husband somehow managed to convince me to leave the scripture behind.

I left Chennai with a sense of guilt for not taking Srimad Bhagavatham with me.  

On one of the free days during my stay I visited the famous Oxford Street in London.

Even the grandeur of Oxford Street could not ease my depression. All the same, I was awestruck by the brightly lit richness of one of the world's busiest streets. 

The incongruity of associating Lord Krishna with foreign people, places or things never ceased to fascinate me. Looking around I felt overawed that Lord Krishna created Oxford street.., Manhattan..., the exotic Paris...., the lovely English countryside...., my favorite Beatles...., Nusrat Fateh Ali Khan..., T.M.Thyagarajan...., Voleti....., Srirangam Gopalarathnam......, Michael Jackson....., the divine Carnatic music....., the divine harmony of western music...., the exotic perfumes..., attars of the Middle East....., the divine jasmine flowers of Madurai...., the mysterious beauties of Egypt..., the bold beauty of Afganisthan....(I believe Afganisthan to be a part of Mahabharatham!!)..., it was an endless list. 

Pensive, I raised my head to look at the tall skyscrapers and found the molten gold beauty of a full moon staring at me from a clear night sky.

That day was Pournami. Moon which is exalted in Lord Krishna's star Rohini was in full form. Trying to visualize His face in the moon I removed my footwear on the crowded Oxford Street. Crinkling my eyes shut and with folded palms I felt weighed down by a sense of deep regret for not bringing the Srimad Bhagavatham book along with me to London. I prayed fervently within myself, " Oh why ever didn't I bring the Srimad Bhagavatham book along with me? Today is such an auspicious day and I have failed to read the scripture on such a day as this!! My God, please, please forgive me!!!" I was engrossed in my misery.

"Namastey Ma'm!!" A British accented male voice greeted me. Startled I opened my eyes to find an ISKCON devotee of British nationality standing in front of me. His arms were stretched out and he held a thick book in his open palms!

Shocked and in utter disbelief I saw that it was a book of Srimad Bhagavatham!! My eyes dilated in shock I quickly looked up at him.

In pale saffron robes, tulsi beads adorning his neck and wrists, the Srichurnam on his forehead shining moistly in the dazzling lights of Oxford Street and eyes twinkling with warmth he asked me cheerfully, " Hare Rame Hare Krishna!! I have this last copy of Srimad Bhagavatham, I would be very happy to give it to you!"

Finding my voice amidst my excited heartbeats at the miracle that was taking place, I answered eagerly, "Of course...of course I will take the book. Thank you....thank you so much!! Please tell me, how much to pay?"

P.S- The book given by the ISKCON devotee was one of the 10 volume set and not the volume I was reading. Whatever, it was SRIMAD BHAGAVATHAM manifesting in the middle of Oxford Street and a divine miracle that happened in my life. Lord Krishna answers in Kaliyuga and He resides in SRIMAD BHAGAVATHAM.

TELUGU VERSION OF SRIMAD BHAGAVATHAM,  A GEETHA PRESS PUBLICATION (GORAKHPUR)

Shreeya’s Giggles ( My granddaughter’s blog)

My guitar chords for the theme of Romeo and Juliet edited by my 12 year old granddaughter Shreeya in her blog, Shreeya'sGiggles! The link to it-    https://shreeyagiggles101.blogspot.com/2020/12/veena-gayathri-romeo-juliet-theme.html?m=1.    

                                                                

LAUNG LAACHI-SANDLI SANDLI

 Music- GURMEET SINGH, Audio&Video mixing-JAGAN G (Please use phones)

Durga Puja - 2020

RAGAMALIKA (AARABHIMAANAM) ON GODDESS COMPOSED BY THARANGAMPADI PANCHANADA IYER

RAJAN-NAGENDRA

                                                       RAJAN-NAGENDRA
My work in the cine field from late 60s was most meaningful, rich and memorable due to my interaction with legendary composers.

The most renowned composers of Kannada and Telugu movies Rajan and (late) Nagendra will forever be etched in my memory for their incredibly soulful compositions. Here's their mega hit number Endendu Ninnanu Maredhu from Eradu Kanasu. 

Requests for live recording made me do a simple home video where I sit to do my practice. Videoed, audio/video mixed by Jagan G. 

Maneyanu Belagidhe