AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

Sangeetha Vaibhavam

Salutations to all.

AMMA or Sadguru Mata Amritananamayi Devi says that music is the very essence of life – we find that music can be found in our breath itself. Everything in the world has a particular musical aspect to it though only true musicians will be able to understand and appreciate the same. Unless we are able to understand the various rhythms in the world, we will not be able to live in harmony with nature. When nature is in disharmony we will find lot of natural calamities like hurricane, flood etc. happening. Though man has progressed quite a lot with respect to technology as well as making living as pleasant as possible there is absolutely no answer to natural calamities.

Only recently we found that the great nation of Japan didn’t stand a chance for the big earthquake as well as the tsunami that wreaked havoc. Though there are means to figure out if natural calamities are about to happen, such means aren’t foolproof and majority of time such means fail miserably. Therefore rather than trying to find out ways to live pleasantly in the world we should try to find a way to live harmoniously with nature. Many initiatives like planting trees, recycling etc. are required in order to bring harmony into nature. Unless nature’s harmony or calmness is maintained, there will be more and more natural calamities which have absolutely no answer from us.

The easiest way to bring harmony to nature is through music. As mentioned, everything has a tune and rhythm to it. If and when we are able to find Ishwara as pervading the entire world, then we will be able to appreciate the harmony in everything. In order to perceive Ishwara as pervading the entire world, we have to get rid of duality. Duality cannot easily be got rid of in our mind and the easiest way to get rid of duality is to merge the mind unto Ishwara. The way one achieves this is through singing the divine names of the Lord.

The purpose of this magazine is to instigate the mind to start focusing on the Lord through the nuances of music. The more and more a person dwells into music, he will find that he cannot stay away from music. Music overpowers such a person and thereby he will be able to ever rejoice in bliss singing the names of the Lord. The love towards Lord through vision of oneness will flow to the entire world thereby bringing harmony to the world. Wherever such a person lives, there will be harmony and balance of nature. http://vedantatattva.org/vedantagroup/SangeethaVaibhavam Page 1 of 22

AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

May we all strive to develop passion and love towards Ishwara through music so that not only will we bring balance in nature, we will also be able to achieve the ultimate goal of life as and will be able to ever rejoice in bliss here and now itself.

AUM NAMAH SHIVAYA Apr 22 nd

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

Anukramaanika

Sangeetha Vaibhavam ...... 1 Sangeetha Prakaashanam ...... 4 Hindustani Vivaranam ...... 7 Raaga Vivaranam ...... 10 Deepam ...... 11 Acharya Arpanam ...... 15 Ishwara Smaranam ...... 18 Anukramaanika Nirdesham ...... 22

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

Sangeetha Prakaashanam

In the previous months, we saw about Ragaand various aspects of . In this article, we will see about Talam. Talam is the rhythm aspect of the song, which adds the value as to how the song has to be sung. Whether the song is slow paced song or fast paced or how long each notes have to be sung.

Though there will be side percussion instrument that would accompany a vocalist while singing, the singer would normally would indicate the talam in their gesture of either clapping or tapping on the thigh. There are 3 basic hand movements used in talam– downward beating with palm facing down is called Thattu, beating with palm facing up is called veechu and then counts using the fingers starting from little finger. Based on these types of talam gestures, there are 3 important terms.

1. Laghu: Laghu is one thattu followed by specified number of counts. It is normally

represented by ‘|’. Laghu of 4 is represented as | 4 is represented by 1 thattu and 3 counts starting from the little finger. 2. Dhrutam: Dhrutam is one thattu and one veechu. This is represented by ‘0’. 3. Anudhrutam: Anudhrutam is one thattu. This is represented by ‘U’

Based on these types of beats following are 7 types of Talam and their representation 1. DhruvaTalam - |0|| 2. MattyaTalam - |0| 3. RoopakaTalam – 0| 4. TriputaTalam - |00 5. JhampaTalam - |U0 6. Ata Talam – ||00 7. EkaTalam - |

The Laghu in each of the talam above could be any of the following counts 1. Tisram–count of 3 2. Chatusram – count of 4 3. Khandam – count of 5 4. Misram – count of 7 5. Sankeernam – count of 9

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

When we include these 5 counts to each of the 7 talam, we get total of 35 talams. Each of the Laghu count type is called Jati. For example, if we consider laghu of 4 in Dhruvatalam we say it ChatusraJatiDhruvatalam. If we consider laghu of 3 in TriputaTalam, we say it as TisraJatiTriputaTalam.

Each beat is termed as an Aksharam and the gap between two aksharams is called Nadai. The number of swaras that can come between two aksharas form the Nadai. The nadai also could be one of Tisram, Chatusram, Khandam, Misram and Sankeernam. So for example, if we have nadai of Tisram in TriputaTalam with ChatusraJati, we say it as TisranadaiChatusraJatiTriputaTalam. This means that between each akshara of ChatusraJatiTriputaTalam, there could be 3 swaras in it. Thus, including 5 nadai for each jati of each talam we may end up getting 175 patterns of talam. Sometimes, talam names are used without indicating the Laghu and they are to be interpreted as: Eka (ChatusraEka), Roopaka (ChatusraRoopaka), Triputa (TisraTriputa), Jhampa (MisraJhampa), Ata (Khanda Ata). ChatusraRoopakatalam is represented by 2 thattu and 1 veechu.

There are also some of the most famous named talams such as AdiTalam, KhandaChapu and MisraChapu. When we see AdiTalam, it has a laghu of 4, Dhrutam and Dhrutam and thus this belongs to ChatusraJatiTriputaTalam. KhandaChapuis normally represented by one thattu of 2 aksharam, 1 veechu of 1 aksharam and 1 veechu of 2 aksharams. It can be considered as MisraJatiJampaTala or Khandaekatalam. MisraChapu is normally represented by two veechu, one representing 1 aksharam and another representing 2 aksharams and then two thattu, each thattu representing 2 aksharams. MisraChaputalam is considered as ThisraJatiTriputaTalam.

Kaalam or the time period of the talam is one of the aspect of the rhythm. A song could have one tempo or multiple tempos in the same song. The middle tempo is called MadhyamaKalam. The most popular way of saying about different kalams are first kalam (which corresponds to the MadhyamaKalam), second kalam and Third Kalam. In first kalam, each swaram is sung for each aksharam. In second kalam, two swaras are sung between two beats and in third kalam four swaras are sung between each beat. When we double the tempo from MadhyamaKalam it is DhurithaKalam and when we halve it is chowkakalam.

There is one more aspect of Talam, the starting point of the song and this is denoted by the term Eduppu. Most of the songs would start at the first beat and they are termed as

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

SamaEduppu. Some songs would start after the first beat and it is indicated by anaagathaedupu and some start before the first beat and it is indicated by atheethaeduppu. There are two major type of talam called Deshadi and Madhyadi. These are represented by AdiTalam only by the song start after samam. In Madhyaditalam, the song start after ½ aksharam and in Deshaditalam, the song start after 1 and ½ aksharas. The famous song Bantu reethikolo in the Raga Hamsanandi is in DeshadiTalam.

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

Hindustani Vivaranam

Talas In the previous magazine we learnt about the various thaats in Hindustani Music. We also saw as to how intonation of makes a big difference in that have the svaras, yet are so vastly different from one another.

The three aspects of music that one needs to emphasize on are raga, tala and bhava. The third of bhava is either in-born in certain people or is developed as a result of devotion unto Ishwara (there is no other short-cut towards developing bhava or the right emotion for any song). Some people think that few singers are suited for sad songs whereas others are suited for happy songs. This is wrong – no emotion can be properly conveyed unless devotion towards Ishwara is there. Worldly love might also evoke great songs with emotions, as we find in the case of musicians like A R Rahman. But these stalwarts definitely fall short of the true devotion unto Ishwara which alone can take us beyond the world unto the blissful state of moksha through music. thus says that what is the use of gaining knowledge of music without devotion unto Ishwara? Such music will only provide us with worldly pleasures, that are seeds of sorrow alone. For eternal bliss, music should be associated with devotion unto Ishwara. Thus the great legend of M D Ramanathan would fill his music with total bhava, effortlessly, as his mind was filled with devotion unto Ishwara.

Since we already saw previously thaats that are the basis of ragas, we will see tala briefly in this magazine.

Even as thaats in Hindustani music aren’t well defined like the melakartha ragas in , similarly talas are also not that well defined or set like in carnatic music.

Talas consist of beats that are often split into different parts or sections. Some beat require sound to be made using the hand, some require a number to be counted and others are in the form of a silence or little sound.

Since Hindustani music is practiced in gharanas or specific styles (which are different from other styles), therefore talas as well are used specifically in various gharanas. Few gharanas

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 use few talas more whereas few other gharanas use few other talas more. Also certain talas apply well to certain form of music like khayal, drupad, ghazal, etc.

The important or main talas are as below (in the order of ascending total number of beats in them): Dadra – 6 beats split as 3 + 3. Rupak – 7 beats split as 3 + 2 + 2. Keherawa – 8 beats split as 4 + 4. Bhajani – 8 beats split as 4 + 4. Jhaptal – 10 beats split as 2 + 3 + 2 + 3. Ektaal - 12 beats split as 2 + 2 + 2 + 2 + 2 + 2. Deepchandi – 14 beats split as 3 + 4 + 3 + 4. Jhoomra – 14 beats split as 3 + 4 + 3 + 4. Teentaal – 16 beats split as 4 + 4 + 4 + 4.

We find that there are many talas that have same number of beats and in some cases same division as well but the bhools that are played in table differ as well as the emphasis too. Thus though Keherawa and Bhajani both have 8 beats in total, the former is suited for light music as well as ghazal whereas the latter is suited for bhajans.

Pakawaj talas Pakawaj is a percussion instrument which is played similar to Tabla and for Hindustani music but looks similar to of carnatic music. Many of the talas that are used for pakawaj are also used for table and instead of the normal table bhols (words we can say) used for them, pakawaj bhols are used (thus the style of playing the talas or bhols in these are different).

The common pakawaj talas are: Jhampa – 10 beats split as 2 + 3 + 2 + 3. Chautal – 12 beats split as 2 + 2 + 2 + 2 + 2 + 2. Dhamar – 14 beats split as 5 + 2 + 3 + 4. Tilwada – 16 beats split as 4 + 4 + 4 + 4 + 4 + 4.

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

Laya Laya is defined as the tempo in which a particular tala is used. Some talas are suited to slower tempo whereas others are suited to fast tempos. Though we can categorize tempo into many parts, the three main categories are vilambit (slow), Madhya (medium) and drut (fast). The other categories are ativilambit (very slow) and ati drut (very fast). Different types of music are suited to different laya – thus khayal is generally sung in very slow tempo initially and later increasing the tempo whereas ghazals are sung in medium laya alone. It is important to musicians to understand as to what laya what type of music is suited and what talas also are suited for what laya – such a complete understanding alone will lead to perfection in music leading oneself to enjoy the music and others as well to benefit from the music.

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

Raaga Vivaranam

AnandaBhairavi is the janyam of 20 th Melakartha Raga NataBhairavi

Arohanam: Sa Ga 2Ri 2Ga 2Ma 1 Pa Dha 2PaNi 2 Sa

Avarohanam: Sa Ni 2Dha 2Pa Ma 1 Ga 2 Ri 2 Sa

As the name indicates, this raga gives pleasantness when we listen to a song in this raga. The pleasantness in its fullest can be obtained when this raga it is sung in slow pace. This raga could be one of the apt raga to be played on with all the gamakas giving the full raga lakshana.

If we look at the arohanam and avarohanam we see the usage of ChatusrutiDhaivatam

(Dha 3) though being the janyam of NataBhairavi. The shuddhaDhaivatam is sometimes used as an anyasvaram adding beauty to the raga. Likewise AntharaGandharam (Ga 3) and kakiliNishadam (Ni 3) are also used as the anyasvara. The gamakam in Rishabham is one of the characteristic of AnandaBhairavi.

The phrases P Ma GaRi – Ri Ma Pa, Pa Dha Pa Sa NI 3Sa, Ri Ma Pa Dha 1 Pa Ma GaRi – Sa and many more phrases. The usage of the anyaswaras add so much beauty the raga. This raga exhibit rasam, karunarasam and Sringararasam.

Some of the most popular compositions ManasaGuruguha – MuthuswamyDikshitar KamalambaSamrakshtu – MuthuswamyDikshitar Thyagaraj Vaibhavam – MuthuswamiDikshitar KsheeraSagaraVihara – Thyagaraja Swami O Jagadamba – ShyamaShastri Marivere – ShyamaShastri Palukebhangaramayana – BadraacalaRaamadas

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

Kriti Deepam

O Jagadamba is one of the most popular Kriti in AnandaBhairavi of ShyamaSastri set in AdiTalam. The song is written in Telugu.

Scriptures say that the whole universe came from that Lord and after creation, Lord is also the controller of the world. Lord pervades in and out of everything and Lord knows everything. If we are able to understand this truth of scriptures and abide in this truth, we will not have any sorrow at all and rather we would always be rejoicing in the Anandam of the Lord. But being involved in the world and forgetting the Truth of the scriptures that Lord alone exist, we see many things and thus experience happiness and sorrow in this world. Mahatmas are those who abide in the Truth of the scriptures that everything is pervaded by the Lord, and they don’t just remain like that after knowing the Truth. They help everyone in the world to realize that Truth so that everyone can enjoy the same Anandam Mahatmas are enjoying.

Mahatmas will have their way of communicating about the Truth, some Mahatmas speak through the scriptures, some Mahatmas would sing about the Lord or the Truth etc. ShyamaSastri, one of the trinities of Carnatic Music, adopted music as the mean. The important thing required is to gain the focus on the Lord who alone exists in this world and but in order to gain that focus, we also need the grace of the Lord. In order to show people how to even pray to the Lord, Mahatmas would perform it themselves, and people on seeing the way Mahatmas do, they follow it as well. In this KritiShyamaShastri seeks the blessing of the Devi and asks for protection.

O Jagadambananunivujavamunabrovuamba O, Mother of the Universe! Protect me,now!

The entire world had come from that Devi and the world is currently under the protection and care of the Devi. Since the entire world had come from Devi, Devi is the mother of the whole universe. Everyone in this world is Devi’s Child. Devi, who is the creator and protector of the entire world, alone can protect the entire world. No one else protect us at all points of time than the Lord. When we understand the greatness of such a Devi, naturally we will be able to surrender to such a Devi and thus we will be protected. A newly born baby shows 100% surrender to its mother, this makes it very easy for the mother to take care of the

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 child. Thus the child is protected by the mother. Likewise, when we have 100% surrender unto the Lord, the protection will be natural and instantaneous. And when should Devi protect us. Should Devi start protecting us from tomorrow or after a month or year or few years? We don’t have to delay anything, it is already late and we need protection now. Protection from what? Protection from anything that will take us away from the Lord. The whole world has so many objects that would divert our vision and make us forget the Ultimate Truth even more. But when we at least come to know about the scriptural truth, we should not forget it and in order to remain focused and not forget it, we need protection from bad.

I jagatigatiyujanulakumari tejamuna raja vinutayau rajamukhisarojanayanasugana rajarajitakamakshi Refuge of this world's people, the One extolled by kings, Moon faced, lotus eyed, virtuous, with crescent moon on your head, kannatallinaducintanintakannnadasalupagataguna O Mother, why this indifference towards me?

We can take refuge only in the Lord and no one else. This is because Lord is the protector and controller of the whole world, everyone else in this world are under the protection of the Lord. Most people, though they may not remember the Ultimate Truth that everything is Lord alone, would know that Lord is the most powerful and can protect. Kings rule some area and take care of the people in those area. There are emperors who rule kings and take care of the kings. Even if there is ruler who rules all great emperors and kings, that ruler also needs the grace of the Lord. Thus, Lord is the ruler of all the rulers. Here, ShyamaSastri mentions Devi as being extolled by the kings. Whenever we think about kings, we can visualize the great majestic look with all ornaments, with the kind of personality and behavior they would exhibit. Devi who is the ruler of the entire universe, remain unmatched with the majestic looks and bright appearance.

Can Devi show indifference to people in the world? It is definitely not possible. Whether we seek the Lord or not, Lord protects everyone in the world without any partiality. The whole

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 world functions only by the grace of the Lord. But when we are experiencing sorrow and when we greatly desire to get rid of the sorrow, the most natural refuge is the Lord. But when we analyze the sorrow is not created by the Lord but us. Lord alone exist everywhere in the world and this not having this vision is the cause of the sorrow for us and hence what we need to have is the vision of the Lord. But until we get that vision of Lord we will encounter happiness and sorrow. And when we show the emotion towards the Lord during the time of sorrow to seek solace, we will begin to feel little closeness towards the Lord and when we continue to seek the Lord our mind will be able to focus on the Lord naturally and there by finally merge unto the Lord. ninnunenammiunnavadugadanannukani brocutakarudaannibhuvanambulugacevu Have I not trusted you? You who sustain the world, is protecting me alone so difficult? prasannamurtiannapurnavaradavinnapambuvinnavincisannidivipannabhayavimoca nadaureya Pleasant faced Annapurna, who grants boons, dispeller of fear, hear me pleading at your shrine, protect me now!

When we sing or listen to this song along with the meaning, we can always relate ourselves to the song. It is not easy to trust someone without knowing much about the person. When we know more about the person, we would then be able to trust the person. But in order to ever rejoice in Anandam we can trust only the Lord and no one else. If we think we have surrendered to the Lord and have 100% faith in the Lord and if we are still experiencing sorrow, it means that our surrender is still not complete. But when really surrender unto Lord and we get some testing time, we can demand protection from the Lord like how ShyamaSastri is demanding the Lord for protection.

Mother is always very compassionate and caring for her children. She cannot bear the pain of her children and always runs toward her children to take care of them. Likewise Devi who is the mother of the universe would take care of all her children. Devi grants all the boons to her devotes, removes all fears and sorrows, bestows joy and happiness. But the most importantly, the devotee should have focus on the Devi and surrender and trust on to Devi. When there is surrender and focus, we would be able to realize the grace of the Lord. We

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 have many examples in where Lord take care of the devotees who surrender unto them completely. varasitagirinilayunipriyapranayini parashaktimanavinivinuma mariyadaleruganidusprabhula korivinutimpagavarambosagi Beloved consort of Siva dwelling in Himalaya Parashakti! Please heed my plea! Please grant me boons, so that i need not Seek out and sing praises of pompous patrons

In these final lines, ShyamaSastri again pleads for protection so that he don’t have to praise people of the world to get rid of his sorrow. There are people in the world who are powerful enough to wipe out sorrows of others. A wealthy man could help poor by giving money or food or something that is required. But the person may then expect to sing their praise for being helped. ShyamaSastri says here that there is no one else worthy enough to be praised and surrendered. If we surrender to someone in the world, it will lead to our own downfall if the person falls down. But Lord who is always protecting the world, alone can be taken as the refuge and Lord alone can protect us from every danger that might come to us.

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

Acharya Arpanam

The ultimate goal of human life is to attain liberation from the cycle of birth and death, and the most important sadhana a seeker of liberation should do is to remember, focus and see the Lord in everything. There are different sadhanas prescribed by the scriptures to remember the Lord like Japa, dhyana etc. Music is also one of the ways to remember the Lord and also to gain focus on the Lord. If we have to know how to use Music to remember the Lord, we have to know the life of Trinities of Carnatic music, who not just spent their life singing songs, these Mahatmas spent their life remembering the Lord and sang. The songs of the Trinities are filled with devotion and therefore the songs not only gives us joy when we hear them, it also make us remember the Lord. We have seen the life of Thyagaraja Swami and in the previous magazines. In this article we will see the life of Shyama Shastri.

Shyama Shastri was born on April 26, 1762 to a very pious and scholarly Tamil Brahmin family of Vishwanatha Iyer. He was named as Venkata Subramanyan but called by the name ‘Shyama ’. Shyama Shastri learned Telugu and at a very early age from his father. He was exposed to Carnatic music by his uncle. No one in the family had a liking towards the music, but Shyama Shastri had the liking, with sweet voice in the very age itself. Even though his uncle had taught him the basics of music, he also told him that he should not focus too much on music but should focus more on something productive. One day, Shyama Shastri was doing pooja at the Kamakshi temple. While doing the pooja, he chanted the in different raga. People who came to the temple were attracted by this beautiful voice of Shyama Shastri and were extremely pleased about this little boy doing the pooja. One of the devotees presented him with a shawl which he took it to his uncle and told him everything that happened. His uncle was very angry at this and told Shyama Shastri that he would not teach music any more and he should focus more on something that is practiced with the family which is Vedanta and scriptures. His uncle had also torn all the music books he had at that time. But this did not reduce the interest in music even little bit.

Shyama Shastri was a very good listener as well. He used to listen to the music of various musicians, and practices when alone by himself. He used to sit in front of Kamakshi Devi temple and would sing with 100% involvement and devotion. Once a musical saint, who was also a great , came to Vishwanath Iyer’s house. When he saw Shyama Shastri he told

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 his Vishwanath Iyer that “This child is a musical genius. You must arrange for a good training”. Even though Shyama Shastri’s father did not agree initially, he then agreed to provide formal training in music for Shyama Shastri. He sent Shyama Shastri along with the saint to learn music. The saint was also a musical genius who was an expert at even the subtle nuances of the music. The saint gave formal training to Shyama Shastri teaching him all that know including the subtle nuances. Shyama Shastri being a quick grasper, was able to learn them all very quickly and soon became every knowledgeable in music. The saint was very happy and blessed Shyama Shastri that he would be one of the greatest musicians. The saint also asked him to attend the concerts of one of the popular singer Adiappayyar. He composed the famous Viriboni which was one of the popular Ata tala varnam in Raga. Adiappayyar was very pleased with the 12 year old Shyama Shastri and was very much attracted by his knowledge on music. He used to have long conversations with Shyama Shastri on music. He considered Shyama Shastri as the incarnation of Kamakshi Devi and had very high respect for Shyama Shastri.

More about the life of Shyama Shastri are known more through his great grandson who was alive till the age of 94 and passed away in 1950. The description was that Shyama Shastri was about 6 feet tall, was very good looking and well built. Shyama Shastri was a Kamakshi Upasaka following his father and was always immersed in the devotion of Devi. Being immersed in remembrance and devotion to Devi, he composed and sang many songs. Shyama Shastri had about 300 compositions in his entire life. These 300 compositions are gems of not just from music perspective but the devotional aspect shown in every song. He never tried to earn money by singing but had always tried to spend lot of time in the remembrance of Devi. He never used to travel for making money, but he would travel to Thiruvayaar in order to meet Thyagaraja Swami. He would also travel to various pilgrim places and would sing in praise of Lord of the temple he used to visit.

Shyama Shastri had composed about 300 songs in his life times and most of them are in common ragas. He has composed lot of songs in Ananda Bhairavi and , this might give a clue that he likes these two ragas more. He composed songs in Tamil, Sanskrit and Telugu and most of them on Devi. He has also composed and swarajathis. Most of his compositions will have the mudra of ‘shyama krishna’ in the song. Some people also say that he discovered the swarajathi form of songs. His set of three famous is referred to as ratna trayam, and these are composed in Bhairavi, Yadukulakamodhi and Thodi.

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

Shyama Shastri like his father was very knowledgeable in Astrology. Due to the intense upasana on Devi, he had the power of words and thoughts that whatever he wishes or whatever he says come true. He learned Astrology through his father and was very accurate in his predictions. Once a friend came to Shyama Shastri and told him that some astrologer told him that he would live only 10 more days. Shyama Shastri looked at his horoscope and said he would live for another 10 years and so it happened.

Shyama Shastri had two sons, Panju Shastri and Subburaya Shastri. Panju Shastri being the eldest son, continued the tradition of Devi Upasana in the Kamakshi temple. He was also as pious has his father was. Subburaya Shastri was one of the musical genius like his father, who composed some of the famous . Subburaya Shastri was so fortunate to learn music from Carnatic Trinities of Thyagaraja Swami, Muthuswami Dikshitar and Shyama Shastri.

Shyama Shastri’s wife was a very pious person and was also very devoted to Devi like her husband. Being well versed in Astrology, Shyama Shastri knew exactly when he was going to leave the mortal coil and when he mentioned that to his wife, she went and prayed to Devi that she should leave the body before her husband. So it happened that on February 1st 1827, Shyama Shastri’s wife had passed away. During that time Shyama Shastri known to have said “SAga anjinAl sethu ArinAl” and all people interpreted that as “She was afraid of death and found solace after she died”. Just six days after Shyama Shastri’s wife had passed away, on February 7 th 1827, he meditated on Devi for one last time and left the mortal coil. All the people then realized that what he said was “sAga anjunAl sethu ArunAl” which means 5 days to go (to leave the mortal coil) and six days would have passed after death (of his wife). It seems all musicians at the time came and paid their last respects to one of the trinities of Carnatic music.

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

Ishwara Smaranam

Gopala Krishna Giridhari Krishna Goloka nandana Krishna Govinda Krishna Ghana shyama Krishna Gopi janeshwara Krishna O Krishna, cowherd boy, who uplifted the Govardhana mountain! O Krishna, whose real abode is Goloka! O Govinda, dark-blue colored! O Krishna, the Lord of the Gopis!

This song speaks about Lord Krishna. The ultimate goal of life is to attain the goal of Moksha and in order to move towards the goal of moksha, the most important thing required is to have constant remembrance of Iswara. or Bhajans are one of the ways of remembering the Lord. This song speak about different aspect of Lord Krishna. The moment we think or hear about Lord Krishna the first thing that will come to our mind is the smiling face of the Lord. Whether it is the face of child Krishna or youth Krishna or Krishna in the war or Krishna with Gopis, the constant thing we can see is the joyful face of the Lord. When we see any of our friend being happy, we would get naturally attracted towards that person. Likewise anyone or everyone will get attracted towards the joyful form of Lord Krishna. Gopis of Vridavan always remembered Lord Krishna and would always connect every normal activity with something about Lord Krishna. Thereby there would be nothing that would make them forget the Lord. Here in this song, it speaks about various aspects of the Lord.

Lord Krishna was called Gopal as he was the cowherd. He was the care taker of the cows, let them gaze the grass and watch them. Cows or Pashus signify people of the world who are ignorant of the real nature, who are grazing the world here and there without control and he is the gopala who takes care of all the cows and makes sure they are returned home. And how powerful he is? As a young boy, he lifted Govardhana mountain in his little finger in order to protect the people of Gokula. This is no less than a miracle to lift an entire mountain in little finger. But that is not what is to be focused. It signifies that Lord will do even the impossible thing in order to protect the devotees. Govinda means one who controls the animal nature of man and convert that into Divine nature . Govinda also means one who

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 master of sense organs. And he was the Lord of the Gopis. Gopi always remembered Lord Krishna at all points in time. There was no time that they forgot Lord Krishna.

Sukumara Krishna surapooja Krishna Sukhasaara vigraha Krishna Kamaneeya Krishna karunaardra Krishna KalidoshanaashanaKrishna O Krishna! The perfectly beautiful, Who is adored by all celestial beings, And whose essence is happiness, You are the one who, full of compassion, Destroys all sins in the dark age of materialism.

Lord Krishna has a very attractive beautiful face. Any smiling face will appear to be a good looking face. But Lord who is of the nature of Anandam, how can the form be not beautiful? Such a Lord who is of the nature of Anandam, who would not worship? People in higher lokas are considered to be having more enjoyment and happiness than in the world. Even they worship the Lord because the Anandam of the Lord is nowhere close to the happiness that is experienced in the higher lokas. Lord stands for the Anandam. In case we wanted to know how to live joyfully, all we have to do is to look at the Lord and see how blissfully he lived. It doesn’t mean that we have to do what the Lord did. But it means that whatever the Lord did, the Lord was never affected, the Lord was never moved from the blissful nature. Lord is the abode of compassion. There is no match to the compassion of the Lord and there can never be any match to the compassion of the Lord. Lord takes care of each and every object in the world like mother takes care of the child. Lord wants everyone to enjoy the Anandam that He enjoys, but people in the world have forgotten about the Truth that Lord alone exists and are stuck in the duality of the world. But when there is thought of the Lord in the mind, that will serve as the medium to cross over from this samsara and thereby realizing the truth.

Navaneeta Krishna nataraja Krishna Nalini dalekshana Krishna Yadunaatha Krishna yatisevya Krishna Yamuna thataasrita Krishna. O Krishna, the butter theif,

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

The kind of dance, O Lotus-eyed One, The Lord of Yadava’s lineage Who is served by all sages and saints.

Things that are attractive to our eyes always stay in our mind much longer. The more we remember the form, the more it would stay in our mind. If it is for some object in the world, what to talk the blissful form of the Lord. There will be no end to describe to beauty of the Lord and not just that. When we remember along with the mischiefs the Lord had done, the Lord would stay in our mind longer. Yatis are those who are realized masters and are always abiding in the Truth. Such masters do not have any desires or duties in the world and are ever blissful in the abidance of . Realizing the Truth of Brahman is the greatest tribute that a person can do to the Lord because Lord wants everyone to experience that Anandam which is everyone’s very nature and only way to attain that Anandam is by realizing the Truth. Masters who are ever abiding in Brahman are taken care by the Lord himself.

Vrajavasi Krishna vanamali Krishna nandana Krishna Jayadeva Krishna jagadeesha Krishna Janamaanaseshvara Krishna O Krishna who lives in Vraja, Adorned with a garland of wild flowers, Son of vasudeva, Jayadeva is a great devotee of yours, O Krishna you are the Lord of the world and of all souls.

Lord Krishna being a cow-herd lived in a place where there were many cowherds and who loves to have garlands. Lord Krishna likes alankara and is always well adorned with garland and jewels and peacock feather on his head. Since we know that Lord is fond of decorations, we can try to adorn the Lord with Jewels and garlands and chandan and whatever we want mentally. This kind of mental offering will expand our mind and also make our mind more blissful with the presence of the Lord in our mind. Puranas speak about various Bhaktas who always had Lord in their mind. Different bhaktas showed different types of bhakti towards the Lord. But all of them finally reached the abode of the Lord which is Anandam. The Truth to be kept in mind is that everything is pervaded in and out by the Lord. Lord is the

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13 protector and care taker of the entire world. Lord is the controller of the entire universe. He is present in each every entity in this world, be it a living or a non-living thing. Such a Lord is always to be kept in mind so that we realize the Lord and thereby ever rejoice in Anandam.

This song of Amma is set in the Raga Ananda Bhairavi.

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AUM NAMAH SHIVAYA SANGEETHA VAIBHAVAM 25 Apr 13

Anukramaanika Nirdesham

1. Editorial – a general message 2. Sangeetha Prakaashanam – music and concepts of music explained in simple terms. 3. Hindustani Vivaranam – concepts of Hindustani music explained in a comparative study with carnatic music. 4. Raaga Vivaranam – analysis/explanation of a raaga. 5. Kriti Deepam – a kriti of music explained. 6. Acharya Arpanam – remembrance of an acharya of music. 7. Ishwara Smaranam – remembrance of Ishwara through a devotional song.

1. Comments 2. Suggestions 3. Corrections (word, sloka, content etc.) 4. Would like to see specific content 5. Would like to contribute (through research from websites, don’t need to write up the content yourself) Mail [email protected] .

Feel free to forward this to anyone who might be interested. Online download of the magazine can be found at http://vedantatattva.org/vedantagroup/SangeethaVaibhavam/ Subscribing and unsubscribing can be done by mailing [email protected] .

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