Nāda Yoga

nadyaeg “The Yoga of Sound”

With Rishima Bahadoorsingh Ray of Light Music

www.rayoflightmusic.weebly.com www.facebook.com/rayoflightmusic108 [email protected]

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Basic Sanskrit Pronunciation

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Mantra mNÇ

“A mantra is a revealed word, phrase, set of words, or a divine sound that has been received and experienced by great sages in deep meditation” - (Pandit Tigunait)

• Mantra: syllable, utterance, or group of words that have spiritual energy that resonate with the energies of the universe, usually has Beej e.g. Oṃ, usually vedic, puranic, tantrika, or name of God • Śloka/Shloka: a verse or prose usually from a religious text and may rhyme • Stotra: prayers/hymns to praise god, may be in verse or from a scripture • Stuti: any prayer offered to god in any form • Bīja/Beej: means “seed”, potent sound formulas, where the essence of a mantra is within a sound, no direct meaning e.g. Oṃ, Gaṃ, Daṃ, Kriṃ, Śriṃ, Huṃ, Aiṃ, Laṃ etc. • Japa - repetition of a mantra or divine name

Oṃ/Auṃ /ॐ / o

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Haṃsa Mantra So’Ham sae=hm! -

Tat Tvam Asi tÅvmis -

Oṃ Gaṃ Gaṇapataye Namaḥ ` g< g[ptye nm>

- Oṃ Namaḥ Śivāya ` nm> izvay

- Oṃ Namo Bhagavate Vāsudevāya ` nmae -gvte vasudevay

- Oṃ Sai Rām ` sa$ ram

-

Lokāḥ Samastāḥ Sukhino Bhavantu laeka> smSta> suionae -vNtu Samastāḥ Lokāḥ Sukhino Bhavantu smSta> laeka> suionae -vNtu

May all the beings in all the worlds be happy

-

Oṃ Śāntiḥ Śāntiḥ Śāntiḥ ` zaiNt> zaiNt> zaiNt>

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Gāyatrī Mantra

` -U-Ruv> Sv>, tTsivtuvRre{ym!,

-gaeR devSy xImih xIyae yae n> àcaedyat!.

Oṃ bhūr bhuvaḥ svaḥ Tat savitur vareṇyaṃ Bhargo devasya dhīmahi Dhīyo yo naḥ pracodayāt – Ṛgveda 3.62.10

Oh Mother who subsists in all the three times (past, present, and future), in all three worlds (heaven, earth, and lower regions), and all three attributes (satwa, rajas, tamas) I pray to you to illuminate my intellect and dispel my ignorance just as the splendorous sunlight dispels all darkness. I pray to thee to make my intellect serene and bright and enlightened.

OṂ - Para Brahman BHŪR - Bhu loka (Physical plane). It also refers to the body made up of the 5 Pancha Bhutas (5 elements). These 5 elements constitute Prakriti (Nature). BHUVAḤ - Bhuva loka (Middle world). Bhuva is also Prana Sakthi. However, it is the presence of Prajnana that enables the Prana Sakthi to animate the body. It is on this account that the Vedas have declared "Prajnanam Brahma" (Constant Integrated Awareness is Brahmam). SVAḤ - Swarga loka (Heaven - the land of the Gods) TAT - That - Paramatma, God or Brahman SAVITUR - That from which all this is born VAREṆYAM - Fit to be worshipped BHARGO - The Radiance, the Spiritual Effulgence, Light that bestows Wisdom DEVASYA - Divine Reality DHĪMAHI - We meditate DHĪYO - Buddhi, Intellect YO – Which NAḤ – Our PRACODAYĀT – Enlighten

http://www.saibaba.ws/teachings/powergayatri/powergayatri.htm

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Gurur Brahmā

guéäRüa guéivR:[uu> guédeRvae mheñr>,

gué> sa]aTpr< äü tSmE ïIgurve nm>.

Gurur Brahmā Gurur Viṣṇuḥ

Gurur Devo Maheśvaraḥ

Guruḥ Sākṣāt Paraṃ Brahma

Tasmai Śrī Gurave Namaḥ

"Guru Is Brahmā (Who plants the qualities of goodness) Guru Is Viṣṇu (Who nurtures and fosters the qualities of goodness) Guru Is Maheśvara (Who weeds out the bad quality) Guru Is Supreme Brahman Itself Prostration Unto That Guru"

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Śānti Mantra – Peace Mantra

Oṃ Saha nāv avatu

` sh navvtu, sh naE -unKtu, sh vIyR¡ krvavhE,

tejiSv navxItmStu ma iviÖ;avhE .

` zaiNt> zaiNt> zaiNt>,

Oṃ Saha nāv avatu

Saha nau Bhunaktu

Saha vīryaṃ Karavāvahai

Tejasvi nāvadhītam astu Mā Vidviṣāvahai

Oṃ Śāntiḥ Śāntiḥ Śāntiḥ

May God protect us both May God nourish us both May we work together with energy and vigor May our studies be enlightening May we be free from disputes (not argue with each other) Oṃ Peace Peace Peace

Taittirīya Upaniṣad, Kaṭha Upaniṣad, Māṇḍūkya Upaniṣad and Śvetāśvatara Upaniṣad

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Asato mā

` Astae ma sÌmy, tmsae ma JyaeitgRmy,

m&TyaemaR Am&t< gmy. ` zaiNt> zaiNt> zaiNt>,

Oṃ Asato Mā Sad Gamaya

Tamaso Mā Jyotir Gamaya

Mṛtyor mā Amṛtaṃ Gamaya

Oṃ Śāntiḥ Śāntiḥ Śāntiḥ

- Vedas

Meaning: Oṃ, Lead us from untruth (Unreality, of Transitory Existence) to Truth (the Reality of Self), Lead us from the Darkness (of Ignorance) to the Light (of Spiritual Knowledge), Lead us from the Death (Fear of Death) to the Knowledge of Immortality. Oṃ Peace, Peace, Peace.

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Sargam

• Swar/Swara – a note in sanskrit • Sur - vernacular for note • Saptak – a scale of 7 notes • Sargam - all the notes together derived from the first 4 notes SAReGAMa • Madhya Saptak - The basic octave in the middle region. • Komal swar- flat notes, semi note lower than the pure note • Tīvra swar – sharp notes, semi note higher than the pure note • Shruti - pitch, the sound intervals between the recognized pure notes • Shudha – pure notes, natural (Not flat or sharp) • Gamaka - ornamentation e.g. oscillations, slides, stresses, etc. • Meend - a slide

Shadja Sa S s Do Rishabh Re (Ri in the R re Re Carnartic style) Gāndhār Ga G g Mi Madhyam Ma M m Fa Pancham Pa P p Sol Dhaivat Dha D / La Nishād Ni N in Si/Ti

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Alankār: patterns and musical arrangements of notes

1. Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa Sa, Ni, Dha, Pa, Ma, Ga, Re, Sa

2. Sa – Pa – Sa Sa – Pa – Sa

3. Sa Re Ga Ma, Sa Re Ga Ma, Sa Re Ga Ma, Pa Dha Ni Sa Sa Ni Dha Pa, Sa Ni Dha Pa, Sa Ni Dha Pa, Ma Ga Re Sa

4. Sa Re, Re Ga, Ga Ma, Ma Pa, Pa Dha, Dha Ni, Ni Sa Sa Ni, Ni Dha, Dha Pa, Pa Ma, Ma Ga, Ga Re, Re Sa

5. Sa Re Ga Ma, Pa Ma Ga Re, Sa Re Ga Ma Pa Dha Ni Sa Sa Ni Dha Pa, Ma Pa Dha Ni, Sa Ni Dha Pa, Ma Ga Re Sa

6. Sa Re Ga, Re Ga Ma, Ga Ma Pa, Ma Pa Dha, Pa Dha Ni, Dha Ni Sa Sa Ni Dha, Ni Dha Pa, Dha Pa Ma, Pa Ma Ga, Ma Ga Re, Ga Re Sa

7. Sa Ga, Re Ma, Ga Pa, Ma Dha, Pa Ni, Dha Sa Sa Dha, Ni Pa, Dha Ma, Pa Ga, Ma Re, Ga Sa

Mandra Saptak – Low Notes

• 1. S, N, D, P, P, D, N, S • • • • • •

2. SNS, SNDNS, SNDPDNS • • • • • • • • •

Tār Saptak – High Notes

• • • 1. SRGM PDNS S--- S---

• • • • DNSR SNDP SNDP MGRS

• • • 2. SRGM PDNS S--- S---

• • • • • • • • • DNSR GRSR SRSN DPMP

• • • • • • • • • DNSR SSRS SRSN DPMP • • • • DNSR SNDP SNDP MGRS

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Alankar II

1. SS, RR, GG, MM, PP, DD, NN, SS SS, NN, DD, PP, MM, GG, RR, SS

2. S S R S S R G R S S R G M G R S S R G M P M G R S S R G M P D P M G R S S R G M P D N D P M G R S S R G M P D N S N D P M G R S

• 3. S R, S G, S M, S P, S D, S N, S S • • • • • • • S N, S D, S P, S M, S G, S R, S S ...... 4. SGRS, RMGR, GPMG, MDPM, PNDP, DSND, NRSN, SGRS

• • SDNS, NPDN, DMPD, PGMP, MRGM, GSRG, RNSR, SDNS • • •

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Rāga rag

“Indian classical music is principally based on melody and rhythm, not on harmony, counterpoint, chords, modulation and the other basics of Western classical music.

The system of Indian music known as Rāga Sangeet can be traced back nearly two thousand years to its origin in the Vedic hymns of the Hindu temples, the fundamental source of all Indian music. Thus, as in Western music, the roots of Indian classical music are religious. To us, music can be a spiritual discipline on the path to self-realisation, for we follow the traditional teaching that sound is God - Nāda Brahma: By this process individual consciousness can be elevated to a realm of awareness where the revelation of the true meaning of the universe - its eternal and unchanging essence - can be joyfully experienced. Our ragas are the vehicles by which this essence can be perceived."

- Pt. Ravi Shankar http://www.ravishankar.org/-music.html

Styles of Rāga

• Dhrupad is based on naad yoga, the yoga of sound. Dhrupad is said to be the oldest style of Classical music from India in its original form based on nada yoga. The word Dhrupad is derived from DHRUVA the steadfast evening star that moves through our galaxy and PADA meaning poetry • Hindustani classical music of North India with influence from Muslim music • Carnatic classical music of South India • Gharānā - Refers to the various specialist schools or methods of classical music or dance. The word 'ghar' is derived from Sanskrit for Griha, which means 'house'. Examples are Agra, Punjabi, Dagar, Gwalior, Indore, Jaipur, Kirana, Lucknow, Patiala etc.

Parts of a Rāga

• Tānpura / Tāmbura - a traditional instrument to create a drone sound. It is made of a gourd and wood, has only 4 strings in where the notes do not change. The first string is the note Pa, the second and third strings play the same note with high Sa, and the last string is the basic Sa. • Aroha ascending notes • Avroha descending notes • Vādi most important note • Samvādi second most important note

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• Pakar a series of notes that identify and highlight the beauty of a particular raga. This can be sung for the first time, but not necessarily. These patterns can be sung within the improvisation sections. • Alāp a slow improvisation exploration of the notes at the opening of a piece. This is sung for the first time based on the notes of the raga. This is usually done with just a tanpura, harmonium, or a shruti box. There is no rhythm. • Jhor - improvisation in medium speed in alāp (no rhythm) • Gat - fixed composition with rhythm • Bandish - a composition for vocal or instrumental music • Khayal - "imagination" genre of classical North Indian singing. Usually contains Stayi and Antara • Stayi first verse of the song exploring the lower notes, usually 2 lines • Antara second verse exploring the higher notes, usually 2 lines • Sanchari and Abhoga - 2 more verses in Dhrupad • Tāl – rhythmic cycle e.g. teentaal16 beats, keherwa 8 beats, dadra 6 • Jhala - fast paced alaap • Tān – fast improvisations at the end of a composition • Gayan Samay time to sing a particular raga

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Thāt – Each of the several traditional ragas is based on, or is a variation of, ten basic thaats, or "modes" /scales or musical frames

1. Bilāwal Sa Re Ga Ma Pa Dha Ni 2. Khamāj Sa Re Ga Ma Pa Dha Ni 3. Kafi Sa Re Ga Ma Pa Dha Ni 4. Āsavari Sa Re Ga Ma Pa Dha Ni 5. Bhairavi Sa Re Ga Ma Pa Dha Ni 6. Bhairav Sa Re Ga Ma Pa Dha Ni

| 7. Kalyān Sa Re Ga Ma Pa Dha Ni | 8. Marwa Sa Re Ga Ma Pa Dha Ni | 9. Purvi Sa Re Ga Ma Pa Dha Ni | 10. Todi Sa Re Ga Ma Pa Dha Ni o

Listen to the Thaats http://raganet.com/Issues/2/10thaats.html and http://raagist.appspot.com/thaats

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Examples of Rāga

1) Rāg Bhupāli (Bhoopāli)

Aroha: Sa Re Ga Pa Dha Sa Avaroha: Sa Dha Pa Ga Re Sa

Vādi- Ga Samvādi - Dha Pakad - Sa Re Ga Re Sa Dha Sa Re Ga . Thāt – Kalyan (familia de raga) Jāti – Audhav (5 notas) Gayan Samay – Rathri Ka pratham prarhar (6-9pm)

2) Rāg Desh (Des)

Aroha: Sa Re Ma Pa Ni Sa Avroha: Sa Ni Dha Pa Ma Ga Rr Sa or S N D P, D M G R, G N S Vādi- Pa Samvādi – Re

8 Emotions (Rasa -juice)

1. Shringār – related to love 2. Hāsya - comedy 3. Bhībhatsya- disgust 4. Rauda - anger 5. Karunā -compassion 6. Veera - heromism 7. Bhayānaka - horror 8. Adbhuta –surprise/marvel ---- 9. Shānta – peace (later 9 were created as Navarasa)

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Devotional Singing

• Bhajan - "The word "Bhajan" has been derived from the Sanskrit root "Bhaj" which means to render service. It is a devotional song about dieties or spiritual issues in the Hindu religion. He sung in semi-classical style, usually set to 6, 7 or 8 cycles of rhythm. These can be sung individually, in a group, or in call and response.

• Kirtan - a devotional song with a call and response style of singing in a group. It is used in Hinduism, Sikhism and is also sung in Sufism.

Gaṇeśa g[ez Gaṇeśa Śaraṇaṃ Śaraṇaṃ Gaṇeśa Saiesha Śaraṇaṃ Śaraṇaṃ Saiesha

“Gaṇeśa, we seek your help and protection. You are our shelter.”

Gaṇeśa is the remover of obstacles and is always invoked at first before initiating any business. He also represents the earth element - the root chakra - that should be solid before you can fly.

Śaraṇam means place of refuge and protection.

Saieśa is the Divine Mother.

M M M G M S D S M G M M • Ga-ne-sha Sha-ra-nam Sha-ra-nam Ga-ne-sha

G P P G P P G P G S G P Ga-ne-sha Sha-ra-nam Sha-ra-nam Ga-ne-sha

D D D P D D P D P M P D Ga-ne-sha Sha-ra-nam Sha-ra-nam Ga-ne-sha

P P P P D PM R M P D P M Ga-ne-sha Sha-ra-nam Sha-ra-nam Ga-ne-sha

M M M G M S D S M G M M • Sa-ie-sha Sha-ra-nam Sha-ra-nam Sa-ie-sha

G P P G P P G P G S G P Sa-ie-sha Sha-ra-nam Sha-ra-nam Sa-ie-sha

D D D P D D P D P M P D Sa-ie-sha Sha-ra-nam Sha-ra-nam Sa-ie-sha

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Vināyaka Vināyaka Viśvadhāra Vināyaka Siddhi Vināyaka Bhavabhaya nāśa Suramuṇi Vandita Śrī Gaṇeśa Viśvadhāra Vināyaka

Victory to the merciful elephant faced one. The son of Śiva (Shambo) and Parvatī (Gaurī). He is the bestower of auspiciousness, the remover of obstacles, and the granter of boons. Thou are the life force of all beings. Victory to you, Lord Gajānana. I surrender to the lotus feet of Gaṇeśa and the divine mother.

______

Trimūrti iÇmUitR trimūrti

Brahmā (creator), Viṣṇu (protector), Śiva (destroyer)

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Brahma äü

Satyaṃ Jñānam Anantaṃ Brahma (x3) Satyaṃ Brahma Jñānaṃ Brahma Anantaṃ Brahma

O Eternal Absolute! You are the Truth, Knowledge (wisdom) and Infinity The Absolute Truth is Eternal Knowledge (wisdom) is the Eternal Absolute Infinity is the Eternal Absolute

S G R G R S R S S Sat-yam Jñā-nam A-nan-tam Brah- ma

G P P P P P DM P PG Sat-yam Jñā-nam A-nan-tam Brah-ma

G GR G P G G RS R R Sat-yam Jñā-nam A-nan-tam Brah-ma

G R S S Sat-yam Brah-ma

N R R R • Jñā-nam Brah-ma

N N GR R R • • A-nan-tam Brah-ma

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Vishnu/ iv:[u / Viṣṇu

Oṃ Namo Bhagavate Vāsudevāya Oṃ Namaḥ Śivāya Oṃ Namo Narāyaṇāya Oṃ Namo Bhagavate Vāsudevāya

Rama ram Rāma

Raghupati Rāghava Rājā Rām Patit Pavan Sītā Rām Sītā Rām, Sītā Rām, Bhaj Pyāre tu SītāRām Ishwar Allah Tero Nām, Sab Ko Sanmati de Bhagavān

O Lord Rama, descendent of Raghu, Uplifter of the fallen.You and your beloved consort Sita are to be worshipped. All names of God refer to the same Supreme Being, including Ishwara and Allah.

Om Sri Rām Jai Rām Jai Jai Rām (x3) Sīta Rām Sīta Rām Sīta Rām Radhe Shyām Radhe Shyām Radhe Shyām

Ayodhaya Vāsi Rām Rām Rām, Dasharata Nandana Rām Patita Pāvana, Jānaki Jīvana, Sīta Mohana Rām

Lord Ram, residing in Ayodhya, son of Dasharata; purifier of sin, enchanter of Sita, the life of Sita (Janaki)

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Krishna/Kṛṣṇa k«:[

Hare Rāma Hare Rāma, Rāma Rāma Hare Hare Hare Krishna Hare Krishna, Krishna Krishna Hare Hare Krishna Keshava, Krishna Keshava, Krishna Keshava Rāghava, Rāma Rāghava Rāma Rāghava, Rāma Rāghava Raguvīra

Chant the name of Lord Rama, Krishna. Chanting the mantra destroys all the miseries of life and grants protection.

Govinda Gopāla Prabhu Giridhāri Govinda Gopāla Hridaya Vihāri Nanda Kumāra Navanita Chora Hridaya Vihāra Badā Chitta Chorā

Krishna, cowhearder, who lifted the Govardhana mountain (Giridhari). Krishna the ones in our hearts (Hridaya) Son of Nanda, butter stealer The noble one in our hearts, enchanting our minds

Chitta Chora Yashoda Key Bāl, Navanīta Chorā Gopāl

Gopāl Gopāl Gopāl Gopāl, Govardhanadhara Gopāl (x2)

Oh Lord Gopala (cow herder), Beloved child of Yashoda, Thou art the captivator of the hearts of devotees. Stealer of butter (hearts of the Gopis and devotees). Chant the names of Krishna

Gopāla Gopāla Nācho Gopāla Nācho Nācho Sai Nandalālā Ruma Jhuma Ruma Jhūma Nācho Gopāla Nācho Nācho Sai Nandalālā

Hey Gopala, Nanda's son, Dance, Dance son of Nanda, Your anklets make the sound of Ruma Jhuma as you dance

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Shiva / izv /Śiva

Om Shivāya Om Shivāya Shambo Shankara Om Shivāya Shambo Shankara Om Shivāya Shambo Shankara Om Shivāya

OM - first sound Shivaya – adoration of Shiva worship (Third Trinity god, god of destruction) Shambo - the place of joy Shankara – doer of good deeds (sham - well, kara - doer), cause of self-realization

Shivāya Namah Shiva, Shivāya Namah Shiva, Shivāya Namah Om Namah Shivāya Shivāya Namah Shiva, Shivāya Namah Shiva Shivāya Namah Om, Namah Shivāya

Chant the name Om Namah Shivaya

Hey Shiva shankara namāmi shankara, Shiva shankara shambho Hey Girijāpathi Bhavāni shankara Shiva Shankara Shambo (x3)

I bow to Lord Shiva, bestower of good fortune, O Lord of Girija, Parvati's Lord Shiva

Hara Shiva Shankara Shashānka Shekara Hara bam hara bam bam bam bolo Bhavā Bhayankara Girijā Shankara Dhimi dhimi dhimi thaka nārtana khelo

Shiva, destroyer of evil, bestower of good He holds the crescent moon on his forehead Lord of Parvati, who destroys our bondage to worldly existence Hear his anklets and his drum as he dances the dance of play of the universe

Nacho Rey Natarāja Shiva Shambo Hara Bhole Nātha Shiva Shambo Shiva Shambo Shiva Shambo Dama Dama Dama Dama Damaru Bhaje Hara Bhole (Sai) Natha Shiva Shambo

Oh easy to please dancer, Lord Shiva Shambo. Dance in ecstasy (in our hearts) along with the rhythm of Damaru (Dama)

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Bolo Bolo Sab Mil Bolo Om Namah Shivāya Om Namah Shivāya Om Namah Shivāya

Joota Jatā Mey Gangā Dhāri Trishula Dhāri Damaru Bajāvey Dama Dama Dama Dama Damaru Bajā Gunj Otha Om Namah Shivāya

Om Namah Shivāya Om Namah Shivāya Hari Om Namah Shivāya

Let us all sing – Om Namah Shivaya – I bow down to Shiva (your true identity)

The Ganges flows from his matted hair He holds the trident (Trishul) and his drum (damaru) plays “Dama Dama”. The atmosphere echoes with Shiva’s name “Om Namah Shivaya”.

Let us sing the glories of Lord Shiva All salutations to Lord Shiva

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Tridevi iÇdevI tridevī Female Trinity

Saraswati srSvtI Sarasvatī

ya kuNdeNdu tu;arharxvla ya zuævôav&ta ya vI[a vrd{fmi{ftkra ya ñetpÒasna , ya äüaCyutz sda viNdta sa ma< patu srSvit -gvtI in>ze;jaf(apha.

Yā Kundendu Tuṣāra Hāra Dhavalā Yā Śubhra Vastrāvṛtā Yā Vīṇā Vara Daṇḍa Maṇḍita Karā Yā Śveta Padmāsanā |

Yā Brahmācyuta Śaṅkara Prabhṛtibhir Devaiḥ Sadā Vanditā Sā Māṃ Pātu Sarasvati Bhagavatī Niḥśeṣa Jāḍyāpahā |

Salutations to Saraswati, Who is Pure White like Jasmine, with the Coolness of Moon, Brightness of Snow and Shines like the Garland of Pearls; Who is Covered with Pure White Garments, Whose Hands are Adorned with a Veena (a stringed musical instrument) and the Boon-Giving Staff; Who is Seated on Pure White Lotus, Who is Always Adored by Lord Brahma, Lord Acyuta (Lord Vishnu), Lord Shankara and Other Devas, O Goddess Saraswati, Please Protect me and Remove my Ignorance completely.

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Lakshmi lúmI Lakṣmī isiÏbuiÏàde deiv -iKtmuiKtàdaiyin, mNÇmUtRe sda deiv mhaliúm nmae=Stu te.

Siddhi buddhi prade devi Bhakti mukti pradāyini Mantra mūrte sadā devi Mahā Lakṣmi Namo ‘stu te

You are the giver of the powers and the wisdom You bestow both devotion and liberation You are the form of the mantra, O Maha Lakshmi, I salute You

- 4th verse of the Lakshmi Ashtakam

Parvati/Durga

pavRtI / dugaR Pārvatī / Durgā

Jai Durgā Lakshmi Saraswati Pāhi (sai) Jagan mātā Pāhi (Sai) Jagan Mātā mam pāhi jagan mātā (x2)

Glory to Durga, Lakshmi, Saraswati and Sai; Sai, Divine Mother of the Universe, protect me

Jagadhodhārini Mātā Durgā Jagadhodhārini Mā Jago Jago Mā Jago Jago Mā Jago Jago Mā Janani Hey Gowri Devi Rana Chandi Devi Hey Shiva Ramana Jago Mā x 2 Jago Jagadhodhārini Mā

O universal mother Durga! Please Awake us. O Consort of Lord Shiva! O Gauri Devi! O Valiant Devi! Kindly awaken us. Awaken us to the Atmic reality inherent in us. Nada Yoga – The Yoga of Sound www.rayoflightmusic.weebly.com Ray of Light Music - Rishima Bahadoorsingh

Durge Durge Durge Jai Jai Mā, Umbe Umbe Umbe Jai Jai Mā Kaurnā Sāgari Mā Kālika pālini Mā Jagadodhārini Mā (Amba) Durge Jai Jai Mā

Victory to Mother Durga, the ocean of compassion. Glory be to Mother Kali, who is adored with a garland of skulls (represending destruction of our ego) and who uplifts the whole world. Victory to Mother Durga

Nada Yoga – The Yoga of Sound www.rayoflightmusic.weebly.com Ray of Light Music - Rishima Bahadoorsingh

Instruments and Rhythm

• Laya – speed/tempo (3 speeds slow, medium, fast) • Tāl - a repeating cycle of beats e.g. 6, 8, 16 etc. • Bol – vocalized syllables that correspond to different strokes of the table (Dha, Dhin, Tirkita, Kita, Ta Thun etc.) These are combined to make the rhythm patterns • Mātra – a single beat • Vibhāg – a measure or bar. Inidcated by a dark link | • Sam - the beginning of the taal, where the melody meets rhythm. Most taals begin with sam and is often accentuated. It is marked by X. • Theka - a string of bols that create the basic structure of a taal • Tāli – accented beat, indicated by a clap. Indicated by numbers • Khāli - subtle beat, indicated by a wave of the hand. It sounds distinct as it is most often played on the smaller drum. It is marked by O

Nada Yoga – The Yoga of Sound www.rayoflightmusic.weebly.com Ray of Light Music - Rishima Bahadoorsingh

Keherva Tāl https://www.youtube.com/watch?v=XnwGfOr-20I

• 8 matras • 2 vibhagas

Theka

Dha Ge Na Ti | Na Ka Dhi Na X O

Bhajan Tāl (Bhajani) https://www.youtube.com/watch?v=LGO04YtusJ8

• 8 matras • 2 vibhagas

Theka

Dhin naDhin -Dhi Na | Tin NaTin –Ti Na X O

Dādra Tāl https://www.youtube.com/watch?v=X4326pHTT34

• 6 matras • 2 vibhagas

Theka

Dha Dhin Dha | Dha Tin Na | X O

Nada Yoga – The Yoga of Sound www.rayoflightmusic.weebly.com Ray of Light Music - Rishima Bahadoorsingh

English Bhajans

Ananda अ;nNd

Let the love we’re sharing spread it’s wings, fly across the earth and bring new joy to every soul that is alive.

Loka Samastha Sukhino bhavantu, Let all the beings in all the worlds be happy

Door of my heart, open wide I keep for Thee. Wilt Thou come, wilt Thou come? Just for once, come to me? Will my days fly away without seeing Thee, my Lord? Night and day, night and day, I look for Thee night and day

By Paramahansa Yogananda

Listen Listen Listen to my heart’s song I will never forget Thee, I will never forsake

Hearken hearken harken to the whisper of my soul I will never forget Thee, I will never forsake

Take me, take me, take me my Lord in they love I will never forget Thee, I will never forsake

By Paramahansa Yogananda

Nada Yoga – The Yoga of Sound www.rayoflightmusic.weebly.com Ray of Light Music - Rishima Bahadoorsingh