Introduction of Basic Mridanga Book by Bablu Das

JAYA SRILA PRABHUPADA

INTRODUCTION OF BASIC MRIDANGA BOOK *english revised PURE GOUDIYA VAISHNAVA BASIC STYLE OF MUSIC ACCORDING TO ACARIYA”S. BY BABLU DAS

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Preface In this dark age of hypocrisy and quarrel Sri Caitanya Mahaprabhu distributed love of Godhead and showed everyone the most sublime way to transcend the bondage of matter and enter into the spiritual sky. Even if one does not recognize Sri Caitanya to be the Supreme Personality of Godhead, one who has knowledge of his life and teachings can never fail to appreciate him as the greatest personality the world has ever seen. His Divine Grace A.C. Bhaktivedanta Swami Prabhupada not only introduced Sri Caitanya Mahaprabhu and his teachings to the word outside of India, but convinced thousands of sincere souls to become Sri Caitanya”s dedicated followers. Srila Prabhupada himself spread the glories of the lord through his writing; no one has ever written so many profound literatures in such a short span of time (about eight volumes in ten years). He knew that, in this age, the written word would be the best means of propagating the spiritual message of Sri Caitanya Mahaprabhu and therefore instructed his followers to distribute his books and write as well. By Srila Prabhupada’s advice I am very interested to write all the devotional books specifically on the traditional Goudiya Vaishnava music. I like to collect more things and print books and distribute to the people, explaining the meaning of the traditional music, because many people, even devotees, are playing speculation on the Mridanga and singing. Krishna will be not pleased with them. If we look at sastra, we can understand more clearly that we can’t play any speculation beat on the Mridanga, or singing. It is my great service to explain to the devotees. I hope every year I can print new books on music. There are 24 hours in a day and Krishna’s pastimes going on at every each hour go with many different ragas and raginis. So we have to sing the song at a specific time, otherwise it is an offense. I am going to write next additional book about raga and raginis, so whoever has an interest to learn specific ragas and raginis must get that book, for that I need help from the devotees.

Sri Mridanga Pranama Mantra Namo Jagannatha sutayo Namo mrdanga namah Labanga rasa madhuri Sahasra guna samyuktang Namo mrdanga namo namah Namo baladevayo namo namah I offer my respectful obeisances unto the son of Sri Jagannatha Misra (Sri Chaitanya Mahaprabhu). I offer obeisances unto the mrdanga from which sweet and necterean sounds emanates. I offer my obeisances again and again unto the mrdanga who has thousands of good qualities. And I offer my obeisances unto Lord Baladeva who assumes the form of the mrdanga to serve Lord Chaitanya. Mrdanga brahma-rupaya Lavanyan rasa-madhuri Sahasra-guna samyktam Mrdanga namo namah Unto the Supreme Brahma, who formed as the clay drum infused with the mellow sweetness of graceful enchantment, and endowed with thousands of transcendental qualities, I bow down again and again to the

mrdanga.

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Mridanga The khol (mridanga) is only made of clay and if a drum is made of any substance other then clay, it can’t be called a khol. Kirtan is not completely pure (visuddha) without being accompanied by the khol. The mridanga speak the syllables (dhik tan dhigen tan). Pandits of ancient times have indicated that when the mridanga makes bol it is condemning the material world by saying to those people who have no devotion for the lotus feet of the son of Yasoda, to those whose tongues are not lovingly attached to speaking of the transcendental qualities of the beloved of the cowherd girls, to those whose ears are not fond of hearing the katha of the charming qualities of Sri Krishna’s divine pastimes, fie unto them, fie unto them, fie unto them. Thus speaks the mridanga during kirtan. It is understood that during kirtan when this bol is heard spoken by the Mridanga such persons (as mentioned above) are being condemned, whereas others are being auspiciously engaged in Hari nama sankirtana. By the use of the Mridanga, this benefit is achieved. Traditionally in kirtana only the Khol and karatals are used because these common instruments are most easily available. All classes of people, even then most destitute, can enjoy the bliss of Bhagavat sangita. When music is made with the khol and karatals, they combine to form a mohini sakti (potency of enchantment). That which is produced is naturally able to intoxicate the mind; the sound of the khol creates auspiciousness exactly like the sound of the conch shell. Inauspiciousness cannot remain wherever the khol and karatals resound. In Krishna lila the Gopis play a drum similar to the Mridanga; this drum is the same shape as a Mridanga but it is made of wood and the small head is slightly larger in diameter. The Mridanga is a very popular drum in temples though out South India such as Tirupati and Balaji. Dukhini das, disciple of srinibash acariyas, wrote wonderful bhajans where in he mentions the instruments played by srimati Radhika’s asta-sakhis. Lalita plays vina. visakha plays the Mridanga, Tanguvidya plays vina/ pinak/ saptasara. Indulekha plays esraj, mandira, (fingersymboles) Citra plays seterlike vina, kasa gong. Campaklata plays Sarengi, Tambura. Ranga devi plays bell, ghanta, Sudevi plays karatals. These eight instruments are considered spiritual and it is necessary for us to learn these eight instruments. All other instruments are emotional rather than devotional. The following popular story explains the appearance of the mridanga in Gour lila, before the coming of the Golden avatar. Lord Krishna said to his flute, “My dear flute I am descending again to the material world, but not in this form. You should stay here with Radharani to pacify her. I promised to Radharani that I would not take you with me.” On hearing this the flute said, “My dear lord Krishna, how can you leave here for so long. I have always been by your side but now you are neglecting me. What have done to deserve this?” Krishna replied compassionately that he would bring him along but in different form. The flute did not mind changing his form, as long as he could remain engaged in Krishna’s personal service. In this way the flute transformed into a Mridanga, and descended to this world with Sri Caitanya Mahaprabhu. The mridanga is not an ordinary musical instrument, being the incarnation of Krishna’s flute. It is very dear to Lord Krishna like all of the Lord’s paraphernalia, and is also completely spiritual since it is an expansion of Lord Baladeva. Acariyas therefore consider it an offensive to play speculation. There is a story in this connection relating the disastrous effect of singing incorrectly which can also apply to playing the wrong or speculated beats on the mridanga. Once Narada Muni had learned the art of singing and -3-

he went to the heavenly planets and began singing. The words were good, but the tune and melody were incorrect. Sura, the demigod of melody, was preset in that celestial assembly. He actually became physically deformed from hearing Narada’s singing and others felt pain in their hearts. Someone told Narada, “My friend your improper singing has caused Sura and all of the beautiful singers present here to become ugly and deformed. You should immediately go and learn the art of singing correctly.” Narada then learned how to sing the appropriate melodies from Saraswati, returned to the heavenly planets, and sang again and then all the residents regained their original forms. After this Narada become the world’s foremost preacher of beautiful devotional songs. Narada muni bajay vina nama amani udita hay

Radhika ramana name bhakata gita same.

Translation When the great soul Naradamuni plays stringed (vina) the holy name of Radhika ramana descends, and immediately appears amidst the kirtana of the lords devotees (gitavali). Mridanga badya sunite mana abasara sada yache Gourabihita kirtana suni anande hridaya nache. Translation My mind ever longs for the opportunity to hear the music of the Mridanga upon hearing the kind of kirtana ordained by Lord Gourachandra, my heart dance in ecstasy (saranagati). Before playing the khol one must offer instruments (yantradrstata devata). Then one should practice the vamas or specific letters of the alphabet that correspond to particular hand and fingers strokes upon the heads of the drum. The musical sound articulating ka,ga.gha and so on with voice while hitting the corresponding sounds on the drum should be exercised before playing anything else. Just as a singer has to regularly practice singing the scale, sa,re,ga,ma,pa,dha,ni,sa, similarly it is necessary for a mridanga player to regularly practice the vamas, with much practice in this system and by guru kripa one can learn sweet music; then devotees will declare it is just like the khol is talking. Hare Krishna Indian classical music has a distinctive spiritual origin through the help of divine bhajans and kirtana galore. Supreme Lord Krishna has been glorified in legend and song. The need to synthesize melody and rhythm has brought the traditional art of playing the ancient Vedic classical instrument the mridanga to the floor. Primarily through the transcendental inspiration, enthusiasm, and mercy of our spiritual preceptor, our founder Acariya Srila A.C. Bhaktivedanta Swami Prabhupada, the ways of playing and singing traditional Indian music have been brought to the western world and increasingly experienced by thousands of people. Srila Prabhupada himself, an acclaimed expert in the art, desired everyone to learn the blissful art of playing the mridanga through the time honored Vedic traditional and thus cultivate pure love for Krishna. He therefore specifically requested that thousands of mridanga be produced for this purpose. (Due to the difficulty of transporting clay mridangas from India, Prabhupada requested the devotees manufacture the modern fiberglass Balaram drum made and shipped from Los Angeles) The seeds of this transcendental desire are now bearing fruit, thanks to Srila Prabhupada’s special mercy upon us. In this book we seek to offer guidance, help, and encouragement to the many thousands who desire to partake in this transcendental technique of playing the mridanga and acquire swift proficiency in this wonderful classical instrument. We humbly invite you to learn the ways of playing the mridanga and please Krishna’s transcendental senses, and help fulfill the cherished desire of our eternal acariya, His Divine Grace Om Vishnupada Paribrajakacariya Bhaktivedanta Swami Srila Prabhupada to whom we are permanently offering this humble endeavor.

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Hare Krishna

Srila Prabhpada Ki Jay

Introduction It is very important to state that the mridanga is not an ordinary instrument. It is very dear to Lord Krishna and is completely spiritual. It is the incarnation of Krishna’s flute in the Caitanya lila and it is therefore considered non-different from Baladeva. It is very important for devotees of Lord Krishna to learn to play this instrument. Everyone can learn. It is an offering of love and by perfect playing one can please the devotees and receive mercy. Krishna will be pleased. Playing speculated mantras, however, is offensive and not pleasing to the Lord. Mridanga playing is considered a type of yoga and everyday practice of 30 minutes or more is required. It is beneficial to health in general and specifically improves the concentration in hands, legs, body, breathing work and the mind, which automatically becomes clear. You become happy. It is my request to all parents to engage your children in learning mridanga in their free time rather then sending them to play where they become disturbed in the mind. They should go to a qualified mridanga teacher, and by practicing mridanga they will be able to improve their studies. Between 8 to 10 years of age is the best time to start learning. If they start young their hands become very powerful and their playing becomes sweet like nectar. Mridanga description The size of the mridanga that produces the best sound is 22-23 inches in length. The small and big heads should measure 4 and 8 inches in diameter respectively. Lord Caitanya Mahaprabhu has also mentioned that there should be 32 straps. The middle part of the Mridanga should be a little big fat or the sound will not be very good. The small head should produce a high pitch resounding sound. It is also very important that the hide be cow hide not buffalo hide. Srila Prabhupada has mentioned that it is offensive to play a buffalo hide mridanga. Goudiya vaishnavas never accept buffalo hide mridanga. Buffalo hide is thick and a little fluffy on one side, bit like cotton wool attached to it. Now most people are selling buffalo hide mridanga. It is very difficult to recognize which is cow hide. It is better to take instruction from a qualified teacher. Buffalo hide also does not generally look very clear. Cow hide is thinner. Sound Normally the hand is situated close to the mridanga. There is no need to hit from far to achieve loud sound. There are basically two different categories of sound. First there is a closed or flat sound which is called gupu. This is very important for bhajan beats. Some examples of these mantras are dhete dhag tete tak , dhag dhin nak dhin. These require extensive practice in order to achieve the exact sound and it is necessary to learn these from a teacher. The second type of sound is an open or resounding sound which is very important for kirtan playing. Some examples of these are ja,jha,jhena, dhei,da, ge, ghe, dhe, dhena.

Introduction to Gupu mantras Right hand The hand must be keep very loose. “Tak” is a very sharp sound which is achieved by hitting the upper portion of the small head with the index finger (but by hitting it is middle part rather than the upper portion) and the second te is played with the middle, ring, and small fingers together in the middle of the small head. They are played in succession as tak tete tak tete tak. Left hand “Dha” is achieved by sliding the hand on the big head and “dhag” by sliding on the head with 4 fingers. It should make a resounding sound. -5-

Kirtana etiquette While playing mridanga it is important to follow the kirtana leader not lead him. It is also important to play softer than the song itself. The mridanga sound not be so loud that it buries the song itself. In a garland, for example, the strings hold the flowers together. It is not possible to make a garland without strings, but it is not possible without flowers either. Both the flowers and strings are equally important. The flowers are compared to the song and the strings that hold it together is the mridanga. But just as in a garland the strings are not the most prominent thing, the mridanga is less prominent than the song itself. To play louder than the song is only disturbing to the song. This is the basic understanding according to the Acariyas. One must be especially careful to play properly for Krishna. Use bonafide mantras coming from a bonafide Goudiya vaishnava music Sampradaya. It is very important that junior mridanga players follow behind more experienced mridanga players.

The Four Music Sampradayas There are four Sampradayas of Goudiya Vaishnava Music (1) Garanhati,(2) Monoharasahi, (3) Reneti. (4) Mandarini. (1) (2) (3) (4)

Garanhati orginates from Narottama das thakura, Monoharasahi orginates from srinivash acariya. Reneti orginates from Syamananda, and Bhavananda, Mandarini is no longer pure and is not accepted by our acariyas,

There are three bonafide sampradayas and of those Garanhati is the purest coming from Narottama das thakur. Reneti is the least pure of these three but it is not offensive to use it in Krishnas service. So if you want to learn basic pure Mridanga then I suggest that you learn from pure Garan hati Sampradaya and Monohara Sahi Sampradaya. These two are perfect and pure. By few mantras and little practice the hand will become loose and powerful and you will be able to play with any melody. If the practice is done right, then it may become possible. Jiva goswami mentioned that it is offensive to play speculation beats on the mridanga for Krishna because it is the representation non-different from Baladeva and because it is being used in his service. The mridanga always engages in Krishna’s service and so it is also respected as non-different from Balaram. If you find the time it is best to learn basic playing from a guru according to acariyas. Jiva goswami wrote that it is a very important service for all the devotees to know how to play proper sweet mridanga, and how to sing kirtana and bhajans purely. Everything in the spiritual world is pure and perfect. Krishna is not pleased by speculation. If you want to please Krishna then learn nicely from the beginning from a bonafide teacher according to Goudiya Vaisnava Parampara. Then you can achieve perfection in playing and Krishna will give more of his mercy.

The Importance Of Practice When you start to learn you should immediately stop all speculation on the Mrdanga for at least three months. After that you will no longer have the desire to play speculation beats. You only want to learn more pure playing. That power you get. At first you have to be very patient and tolerant. Practice at least one and half hour a day, every day continuously while saying the mantra. When you can play the mantra faster than you can say it, you are ready to go to the next mantra. By patiently practicing the same mantra the sound will become clear. By practicing in this way I guarantee that you will be able to play perfect. You will be able to play for kirtans and bhajan tunes with ease. Practice is the most important thing. It is by the practice of chanting that you develop love for Krishna and it is by practice in mrdanga that you achieve perfect melody. The best time for practice is in the morning because it is easier to concentrate. Before playing mrdanga one must pay obiesances to the mrdanga. That is the devotional system and the mrdanga is an instrument.

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Practice System To become perfect in your playing there is a practice system which should be followed. Start by playing “tere kheta” at a slow pace and after fifteen minutes increase your speed and after another 15 minutes increase your speed and after another 15 minutes increase your speed again and again, after another 15 minutes until you have been playing tere kheta continuously for one hour. Then go on to the next mantra and practice it in the same way. If you can practice all mantras like this then you can become perfect and your hand will be powerful and sweet. If someone does not have enough patience it is better to learn from a teacher, especially in learning the mridanga instrument because this instrument is quite difficult to learn. If you can practice for at least one hour every day then you can start to learn. It is also very important to say the mantra while practicing. It will give you great benefit very quickly. By chanting the mantra as you play you will not have any difficulty in singing and playing at the same time afterwards. KARATALS Pure Bell-metal karatals are the best. The sound should be clear and open not flat sound. Big karatals should have low pitch sound and correspond to the big head of the mridanga. The small karatals should have a high pitch sound and correspond to the small head of the mridanga. Karatals also have specific mantras for playing. They are actually the most important instrument because they keep the rhythm for all other instruments. If anybody wants to learn more about playing karatals please come and learn. MISCELLANOUS (added) Small head called “dayan” Big head called “bayan” Put strap over your right shoulder and under your left arm (for right-handed people) Big end goes with weaker hand. Small end goes with strong hand. Nowadays there are different varieties of mridangas. • • • •

Clay drums with leather straps and leather head. Metal drums with leather straps and leather head. Fiberglass drums with leather straps and leather heads. Balaram Mrdangas - Fiberglass body and plastic heads

Don’t put down mrdangas with leather heads standing up when the surface is wood or ceramic (where it absorbs cold or moisture). This will ruin or tighten the big head. Vocabulary Tehai - repetitive finishing percussion triad (3) composition played in a pleasant meter to coincide with the opening meter (sam) is called tehai – the finishing triad. Hatuti - a pleasant and carefully setup rhythmic composition played on a Mridanga instrument with the accompaniment of symbols (karatals) heralding the auspicious advent of Lord Sri Caitantya Mahaprabhu and to focus the attention of the audience before commencing kirtana performance.

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HAND PRACTICE MANTRAS (very important to loosen the hands)

Mantra 1.

tere kheta….

Explanation:

Mantra 2.

“te” right hand four fingers closed sound “re” right hand with thumb in middle of the small head of mridanga “khe” left hand closed sound “ta” right hand with four fingers open sound.

tere kheta tere tere kheta…

Explanation. same as previous. Mantra 3.

tere kheta tere kheta tere tere tere kheta…

Explanation. Mantra 4.

tikhi takhi tere kheta, kheta takhi tere kheta…

Explanation.

Mantra 5.

same as previous.

“ti” same as te. “khi” same as khe. “ta” right hands four fingers open sound “khi” same as khe. “tere kheta” all ready you have “khe” left hand close sound (ta) this is special with thumb same as (re) “Ta” right hand four fingers open sound “khi” same as that. tere kheta all ready you have.

tere kheta tere kheta tere tere tere kheta ; tikhi takhi tere kheta, kheta takhi tere kheta

So now try to play everything together as 5. Please practice this mantra for a long time, then your hand will become powerful. Mantra 6.

ghena nere ghena geda, khene nere khena kheta…

Explanation.

“ghe” left hand open sound “ne” right hand with thumb like (re) “nere” same as tere non different “ghe” left hand open sound “na” right hand four fingers open sound same as (ta) “ge” left open sound but it is not strong sound “da” right hand four fingers close sound like (te) but it is more stronger then “te” “khe” left hand close sound or flat sound “ne” right hand with thumb same as (re) “nere” same as tere. all ready you have. “khe” all ready you have. -8-

“na” same as (ta). “khe” all ready you have “ta” right hand four fingers open sound. Mantra 7.

Ghene nere ghena geda, ghene nere ghena, ghene nere ghena khene nere khena kheta, khena nere khena, khena nere khena.

Explanation. see mantra 6. This mantra requires serious concentration Mantra 8.

tere kheta tere tere kheta , tere tere tere kheta khete tete tete kheta tete kheta khete tete kheta tak tere kheta tikhi takhi tere kheta, kheta takhi tere kheta.

Explanation.

Mantra 9.

“tere kheta tere tere kheta tere tere tere kheta” same as before “khe” with left hand flat sound “te” right hand with thumb like(re) “tete” same as (tere) “tete” same as (tere) “khe” left hand flat sound “ta” right hand four fingers open sound. “tak” right hand four fingers close sound “tere kheta” all ready you have “ti” same as te “khi” all ready you have “ta” right hand four fingers open sound “khi” same as before “tere kheta” all ready you have. “khe” same as khi “ta” same as (re) with thumb this ta is special “ta” right hand four fingers open sound. “khi” same as khe. “tere kheta” all ready you have.

ghene ne ghene ne ghene nere ghena, ghene nere ghena tak tere kheta, khene ne khene ne khene nere khena, khene nere khena tak tere kheta,

Explanation

“ghe” left hand open sound “ne” right hand with thumb “ne” right hand with four finger next “ghene ne” same as before. “ghene” left hand open sound and right hand with thumb “nere” the same as (tere). “ghena” left hand open sound and right hand with four fingers open. “ghena” all ready you have before. “tak” right hand four fingers close sound it is stronger than (te). “tere kheta” all ready you have. “khe” left hand close sound “ne” right hand with thumb “ne” right hand four finger open sound next khene ne also same as before “khene” left hand close and right with thumb “nere” same as (tere) “khena” khe left hand close sound and na same as (ta) “tak” right hand four fingers same as (te) but it is stronger then (te) “tere kheta” all ready you have before. -9-