Nada Yoga Booklet-2009

NŒda Chikitsa
Healing through Sound
From sound flows the ageless truth.
Sound creates. Sound sustains.

Sound destroys ignorance and pain.
Sound is the redeemer. Sound is the transformer.
Sound is all that is.
Sound plays to our heart.

Sound beckons our soul to tread the path of ageless truth.
Sound is the instrument of the divine.

Sound is the conch blowing in the eternal heart.
Sound inspires feeling, thought. It inspires every move.
Sound is the substratum of all that exists.

Sound is the causeless cause.
Sound is the infinite bliss. Sound is the infinite knowledge.
Sound is the infinite source. Sound is the infinite.
Take the realized journey into Nada Chikitsa,

Healing through sound vibration.
You are on the journey of sound, whether you realize it or not.
We are each sound vibration called a soul.

Our vibration is one part of the whole spirit.
As a whole, we vibrate as a symphony.
We are musicians playing the song called Life.
Heal through sound. Heal through the ageless truth.
Dance in the flow of rhythm, on the pulsation of AUM,

And allow your soul to sing its solo
In harmony with the whole.
Kaliji
© 2008 Kali Ray TriYoga 1

What the art of painting cannot clearly suggest, poetry explains in words,
but that which even a poet finds difficult to express in poetry,
is expressed in music.
What food is to the body, music is to the soul.
Bhakti (devotion) and music generally go together. All music has evolved out of
‘Om’, the mystic syllable which symbolizes the Absolute.
To worship God through music is called Naadopaasana.
Bhojana (food) is for development of body, so is bhajan

(singing in praise of God) for the development of the soul.
Sri Ganapathi Sachchidananda Swamiji

Sri Ganapathi Sachchidananda SwamijiÕs Music
Sri Swamiji conveys an important part of His message through music. This great
master sings self-composed chants in several languages. Sri Swamiji plays
Ayurvedic healing ragas on an electronic synthesizer.
A gifted composer, singer, and musician, Sri Swamiji is world renowned for
popularizing the healing and meditative aspects of Indian ragas. He has shared
His musical gifts and therapeutic techniques in concerts throughout India and all
over the world.
Throughout history there have been great musicians and composers that have
inspired the individual, as well as the collective consciousness, toward higher
pursuits. In yoga, such a master of sound vibration is called a nŒda yogi. The
music of a nŒda yogi allows the divine to be felt.
When music is charged with spiritual energy it has the power to awaken
consciousness. These ageless teachings are expounded in the Vedas. The fourth
'Upaveda' - Gandharva Veda - is the yogic science of sound. It is in this Veda
that musical therapy has its root. It is in this Veda that music is expounded upon
as a direct spiritual path. Many yogis have claimed music to be the easiest of all
paths to inner peace.
The music of Sri Swamiji is pure NŒda Chikitsa, the yoga that heals through
sound. His music flows from an endless fountain of musical expression. With
Sri Swamiji's music, there is a variety of songs. There are devotional songs that
are musically suited for group singing. There are also bhajans that range from
simple which beginners can learn - to songs that represent a higher form of
music that only skilled musicians can play. In either case, whether the music is
simple or complex, it is all imbued with the transformative power of sound.
You will gain the greatest benefits by experiencing the music as a vehicle for
meditation. To do this, concentrate on the sound. Only through one-pointed
concentration on the music does the yoga of sound assist in meditation,
expanding awareness.
þabda Brahman…, the Inner Self is pure sound vibration

manifesting as Sat Cit AÛnanda …
Eternal Existence, Highest Knowledge, Absolute Bliss.

OM (AUM)

(Pronunciation)
A Creation Begins at back of mouth
U Preservation In middle of mouth
M Transformation With lips together
This monosyllable mantra harmonizes body, mind, and spirit.
Guidelines for Chanting OM
1. Find a pitch (placement in your vocal range) that you

are comfortable with in chanting.
2. Sing out loud on your own to gain confidence.
3. Thru experience, choose the best pitch that is suitable

for both men and women to sing.
Tips: It is helpful to get the starting note from a

keyboard, harmonium, pitch pipe, drone box, etc.

NAÛDA-BRAHMA YOGA The Yoga of Sound
The word NŒda is derived from the Sanskrit root NAÛD, which means flowing.
The same word also means sound.
NŒda Yoga represents a flowing action, the flow of consciousness.
Three Manifestations of Sound:

Para: Transcendental, Unmanifested Supreme Sound. One with Supreme Spirit.
1. PaÅyant·: Visible sound, source of all knowledge. Vision of Supreme Spirit.
2. Madhyama: Audible sound. Voice of Supreme Spirit, nŒdam.
3. Vaikhar·: Expression of the inexpressible sound. Voice of prophets & saints.
When þabdabrahman ~ Supreme Spirit as Sound, is in the unmanifested state, it is

called Para. Para resides both at the base of the spine in M¬lŒdhŒra (first) Cakra,
known as KunÜdÜalin·, and at the crown of the head in SahasrŒra (seventh) Cakra as
Supreme Consciousness. PaÅyant· is experienced at SvŒdhi§tÜŒna (second) Cakra where
the yogis see the universe, experiencing vision of Supreme Self. Vision of the
Universal Nature. Madhyama is experienced at the AnŒhata (fourth) Cakra. An means
not. AÛhata means playing with instruments. Thus, Madhyama manifests as nadam, the
unstruck sound in AnŒhata Cakra. Vaikhar· is experienced in ViÅudda (fifth) Cakra. It
is expressed as highest knowledge, inspired speech, and music.
Speech manifests in four stages:
Para is the highest Chiti þakti, i.e., pure consciousness ~ the unmanifested origin of all
knowledge. PaÅyant· is the first manifested consciousness ~ the seat of all knowledge.
Madhyama is its manifestation in the form of ideas and thought. Vaikhar· is the vocal
speech in the expression of words.
Sound relating to
NŒda Sound Evolution the four states of Sound illustrated
existence by a flower
Para non dual; Silence supracausal seed
one with knowledge
PaÅyant· vision (of knowledge); Image causal/deep sleep sprout
seeing into Mahat
Madhyama feel knowledge; personal Thought subtle/dream state bud
dharma
Vaikhar· manifesting Expressed gross/waking bloom
knowledge into action

TRINITY IN SOUND
Object Word Mantra SaÃg·ta

Name Vibration Sound Voice
Form Sensation Form Instrument
Meaning Reaction Meaning Dance
Sampattis
þabda the sound constituting the word
Artha the meaning
JÆŒna the resulting knowledge
Japa (repetition of mantra)

VaikhariÚ Verbal
UpŒμÅu Semi-verbal
MŒnasikiÚ Mental
K·rtana (devotional chanting)

EkŒnta singing alone
SaÃgha singing in chorus
AkhanÜdÜa continuous singing
THAT I AM - I AM THAT - I AM
Haμsa SoÕham OM

Sanskrit
Sanskrit is a member of the Indo-European language family, and an official language of
India. Having first developed around 1500 BC, scholars have preserved more Sanskrit
documents than documents in Latin and Greek combined. The oldest form of Sanskrit
is Vedic, in which the Vedas, the earliest Sanskrit texts, were composed. The Vedic
civilization is the earliest civilization in Indian history of which we have written records.
The Vedic texts have dates that go back to the 5th millennium BC.
The Vedic form survived until the middle of the first millennium BC. Around this time, as
Sanskrit made the transition from a first language to a second language of religion and
learning, the Classical period began. The intense study of the structure of Sanskrit at this
time led to the beginnings of linguistics. The oldest surviving Sanskrit grammar is Paanini's
c. 500 BC Astaadhyaayii ("8 Chapter Grammar").
The word Sanskrit means completed, refined, perfected. Sum (Complete) + krt (created).
Sanskrit was created and then refined over many generations until it was considered
complete and perfect. Sanskrit is generally written in the syllabic Devanagari script
composed of 50 letters or aksharas. It is found written on stone, birch bark, palm leaves and
paper.
Source: Campusprogram.com
The greatest grammarian of any language ever born was Panini. The exact dates of his life
are unknown. He lived before the seventh and fifth century B.C. He systematized and
codified the entire Sanskrit language in four thousand sutras. His commentator, Patanjali,
said that Panini sat in meditation when composing the sutras, thus receiving them while in
a superconscious state.
The very origin of the human alphabet, when it is received as a revelation in a higher state
of consciousness, is nothing but the diversification of the very first sound waves that are
sent forth into the universe at the time of creation.
There were dozens of grammarians before Panini's time whose systems were modified
and incorporated in his own codification. Panini felt that the language itself came to him
as a revelation.

Mantra
man is to meditate, tra means protects
Meditation on mantra secures sympathetic attunement of the center of

energy in the body with the corresponding center of the universal energy.
Mantras are used to focus the mind. Through concentration

on the mantra, the unwanted thoughts leave the screen of the mind,
allowing awareness to expand.
(practice the following with Sanskrit Mantra CD)
GanÜeÅa Mantra
removal of obstacles
þuklŒmbara dharam visÜnÜum

þaÅi varnÜam catur bhujam
Prasanna vadanam dhyŒye
Sarva vighnopaÅŒntaye
Saha NŒvavatu
Beginning and conclusion of programs
Saha NŒvavatu
Saha Nau Bhunaktu
Saha Viryam KaravŒvahai
Tejasvi NŒvadhiÚtamastu
MŒ VidvisÜŒvahai
Om SŒntiÅÅŒntiÅÅŒnthihÜ
Vedas
Waters are the most purifying of all things on earth,

yet more purifying than waters are the mantras.
Vedas
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GŒyatr· Mantra
prayer for enlightenment
(GŒya is one who sings (the mantra); tri means protects)
Om Bh¬r Bhuvas Suvaú

Tat Savitur VarenÜyam
Bhargo Devasya DhiÚmahi
Dhiyo Yo Naú PracodayŒt
Let us contemplate the wondrous spirit of the Divine (Savitri) of the

earthly, atmospheric, and celestial spheres. May our minds be
directed toward the Divine (that is, towards the attainment of dharma,
artha, kama, and moksha), Om.
Vedas
Guru Prarthana Mantra

in honor of Guru
GururbrahmŒ gururvisÜnÜuhÜ
Gurudevo maheÅvarahÜ
Gurueva param brahma
Tasmai ÅriÚ gurave namahÜ
MahŒmrÜtyunjaya
health
Om tryambakam yŒjamahe
Sugandhim pusÜtÜi-vardhanam
UrvŒrukam iva bandhanŒn-
MrÜtyor-muksÜiÚya mamrÜtŒt
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BrahmŒrpanÜam
food prayer
BrahmŒrpanÜam brahma havihÜ brahmŒgnau brahmanÜŒ hutam

Brahmaiva tena gantavyam brahma-karma-samŒdhinŒ
The act of offering in the sacrifice is Brahman, what is offered (the

oblation) is Brahman, the sacrificer is Brahman and the sacrificial fire is
Brahman. One who realizes the presence of Brahman in [every] action
indeed reaches Brahman.
Bhagavad G·tŒ, Ch IV, sutra 24
Om Prana svaha
Om Samana svaha
Om Vyana svaha
Om Apana svaha
Om Uddana svaha
Om Sri Annaurna Lakshmi Ki Jai
Om Asato mŒ Sadgamaya;
Tamaso mŒ Jyotirgamaya;
MrityormŒ Amritam gamaya.
Om ÅŒntiÅÅŒntiÅÅŒntihÜ !
Om lead us from unreal to the real;

from darkness to light;
from death to immortality.
Om peace peace peace!
15
P¬rnÜamadahÜ
completion
P¬rnÜamadahÜ p¬rnÜam idam p¬rnÜŒt p¬rnÜamudacyate

P¬rnÜasya p¬rnÜam ŒdŒya p¬rnÜam evŒvaÅisÜyate
That Brahman is full. This universe created is full. From the Brahman, this
creation has come out. Even though the complete creation has emerged from the
Brahman, the Brahman remains ever complete.
Om ÅŒntiÅÅŒntiÅÅŒntihÜ
Om Peace Peace Peace
HarihÜ Om þriÚ Gurubhyo NamahÜ HarihÜ Om

Vedas
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Datta StavahÜ
þriÚ Ga÷eÅŒya Namaú

þriÚ Sarasvatyai Namaú
þriÚ PŒœdavallabha-Narasiμha-SarasvatiÚ
þriÚ Guru-DattŒtreyŒya Namaú
DattŒtreyam mahŒtmŒnam
Varadaå bhakta-vatsalaå
PrapannŒrti-haraå vande
SmartrÜgŒmiÚ sa no'vatu
DiÚna-bandhum krÜpŒ-sindhum
Sarva-kŒranÜa kŒranÜam
Sarva-raksÜŒ-karam vande
SmartrÜgŒmiÚ sa no'vatu
þaranÜŒgata-diÚnŒrta-
ParitrŒnÜa-parŒyanÜam
NŒrŒyanÜam vibhum vande
SmartrÜgŒmiÚ sano'vatu
SarvŒnarta-haram devam
Sarva-maÃgala-maÃgalam
Sarva kleÅa haram vande
BrahmanÜyam dharma-tatvajÆam
Bhakta-kiÚrti-vivardhanam
BhaktŒbhiÚsÜtÜa-pradam vande
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© Datta Peetham
þosÜanÜam pŒpa-paÄÃkasya
DiÚpanam jÆŒna-tejasahÜ
TœŒpa-praÅamanam vande
Sarva-roga-praÅamanam
Sarva-piÚØ£ÜŒ nivŒranÜam
Vipad-uddharanÜam vande
Janma-saμsŒra-bandhajÆam
Svar¬pŒnanda-dŒyakam
NihÅÅreyasa-padam vande
Jaya-lŒbha-yaÅah kŒma
DŒturdattasya yasstavam
Bhoga-moksÜa-pradŒsyeyam
Prapatet sa krÜtiÚ bhavet

þriÚ PœŒdavallabha-Narasiμha-SarasvatiÚ
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© Datta Peetham
AstalaksÜmiÚ Stuti

þriÚ PŒdavallabha-Narasiμha-SarasvatiÚ
RathamadhyŒå aÅhvap¬rvŒå
GajanŒda prabodhiniÚå
SŒmrŒjya dŒyiniÚå deviÚm
GajalaksÜmiÚå namŒmyahaå
Dhanam agnir dhanaå vŒyuh

Dhanaå bh¬tŒni paÆca ca
Prabh¬ taiÅvarya sandhŒtriÚå
DhanalaksÜmiÚå namŒmyaham
PrÜthvi garbha samudbhinna

NŒnŒ vriÚhi svar¬pinÜiÚå
PaÅu sampat svar¬paÆca
Dhanya laksÜmiÚå namŒmyaham
Na mŒtsaryam na ca kroÛdho
Na bhiÚtir na ca bhedadhiÚhÜ
Yad bhaktŒnŒÚå viniÚtŒnŒÚå
DhairyalaksÜmiÚå namŒmyaham
Putra pautra svar¬penÜa

PaÅubhrÜtyŒtmanŒ svayaå
SambhavantiÚå ca santŒna
LaksÜmiÚå deviÚå namŒmyaham
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© Datta Peetham
NŒnŒ vijÆŒna sandhŒtriÚm
Buddhi Åuddhi pradŒyiniÚm
AmrÜtatva pradŒtriÚå ca
VidyŒlaksÜmiÚå namŒmyaham
Nitya saubhŒgya sauÅiÚlyŒå

VaralaksÜmiÚ dadŒthi yŒ
PrasannŒå strainÜa ÅulabhŒå
AÛdilaksÜmiÚå namŒmyaham
SarvaÅakti svar¬pŒÆca
Sarva siddhi pradŒyiniÚå
SarveÅvariÚå ÅriÚ vijaya
LaksÜmiÚå deviÚå namŒmyaham
AsÜtalaksÜmiÚ samŒhŒra
Svar¬pam tŒå haripriyŒå
MoksÜalaksÜmiÚm mahŒlaksÜmiÚm
SarvalaksÜmiÚå namŒmyaham
DŒridrya dukha haranÜaå

SamrÜddhirap smapadŒå
SaccidŒnanda p¬rnÜatvaå
AsÜtalaksÜmiÚ stuter bhavet

20
© Datta Peetham
Sadguru StavahÜ

Siddhi-buddhi-mahŒ-yoga
VaranÜiÚ yoganÜŒdhipahÜ
Yassvayam saccidŒnandam
Sadgurum tam namŒmyaham
Yasya dattŒtreya-bhŒvo
BhaktŒnŒmŒtma-dŒnatahÜ
S¬cyate saccidŒnandam
Yoga-jyoti-samudiÚptam
JayalaksÜmiÚ nrÜsiμhayohÜ
Advayam saccidŒnandam
Yoga-vidyŒ-citra-bhŒnum
CitrabhŒnu-Åarad-bhavam
JÆŒnadam saccidŒnandam
GanÜeÅahomeÕrkadine
Nityam ÅriÚcakra p¬jane
DiÚksÜitam saccidŒnandam
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© Datta Peetham
Agastya-muni-saÃkrŒnta
NŒnŒvaidya-dhuramdharam
Bhavaghnam saccidŒnandam
VŒdyodaÆca-divya-nŒma
SaÃkiÚrtana-kalŒ-nidhim
NŒdŒbdhim saccidŒnandam
Datta-piÚtÜŒdhipam dharma-
RaksÜanÜopŒya-bandhuram
Satkavim saccidŒnandam
Vidh¬ta-bhakta-sammoham
Avadh¬tam jagad-gurum
SvŒÅrayam saccidŒnandam
SŒdhutvam bhakti maiÅvaryam

DŒnam yoga marogatŒm
Sanmatin jÆŒna-mŒnandam
Sadgurum stavato labhet

þriÚ PŒœdavallabha-Narasiμha-SarasvatiÚ
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© Datta Peetham
Datta-§o¶aÅ·
SacchidŒnanda-sadguru-dattam bhaja bhaja bhakta

êodaÅŒvatŒra-r¬pa-dattam bhaja re bhakta
Mahi§apura-ŒvŒsa-År·-kŒlŒgni-Åamana-dattam
ProddutÜ¬ru-grŒma-vŒsa-yogirŒja-vallabham
BenÞgal¬ru-nagara-sthita-datta-yogi-rŒjam
Anantapure sthitam JÆana-sŒgaram bhaja-dattam
VijayavŒ¶Œ-vilasitam ÅyŒma-kamala-locanam
Macil·-patÜ÷a-saμsthitam atri-varadarŒjam
Jayalak§m·pure saμskŒra-h·na-Åivar¬pam
MadrŒsu-nagara saμvŒsam Œdiguru-nŒmakam
äÅ·keÅa-t·rtha-rŒjam År·-digambara-dattam
AÛk·v·¶ustham-viÅvŒmbara-avadh¬ta-dattam
N¬jiv·dÜu-patÜtÜanÜe deva-devŒvatŒram
BhŒgyanagara-sthitam dattŒvadh¬tam bhaja
Ga÷¶igu÷tÜa-janapade datta-digambara-devam
Kocinagare sthitam siddharŒja-nŒmakam
MŒœyŒ-muktŒvadh¬ta-maccarapŒke
L·lŒ-viÅvŒmbaram s¬rannagare bhaja
SacchidŒnanda-janma-sthale datta-kŒÅ·Åvaram
P¬rva-samudra-t·re datta-rŒmeÅvaram
SacchidŒnanda-sadguru-dattam bhaja bhaja bhakta

êodaÅŒvatŒra-r¬pa-dattam bhaja re bhakta
© Datta Peetham 23
Mantra CD: Kavacha Manjari
Chanted by Sri Swamiji
In this recording, Sri Swamiji recites the powerful Kavacha mantras. Each day of the
week has a special energy associated with it. To listen to the mantra for a specific day,
see chart for the corresponding mantra (track) of the day
Deity Day of Week CD Track #

þiva Monday 6
Dev· Tuesday 5
GanÜeÅa Wednesday 1 and 2
Datta Thursday 7
Dev· Friday 5
NŒrŒyanÜa Saturday 3
S¬rya Sunday 4
Sri Swamiji has released thousands of devotional

bhajans and musical compositions.

BiÚja Mantras
AH
OM
HAM
YAM
RAM
VAM
LAM
Location Mantra Color

Base of Spine LAM Red
Pubic Bone VAM Orange
Navel RAM Yellow
Heart YAM Green
Throat HAM Blue
Third Eye OM Violet
Crown AH White

þruti MŒtŒ, Laya Pita
Melody is like the Mother,
Rhythm like the Father.
Rāga
That which colors the mind
A raga is a specific pattern of ascending and descending notes.

There are 72 main (Mother) ragas,
and thousands more based on these.
Sargam musical alphabet of Indian music
SA RI GA MA
1 2 3 4
Do Re Mi Fa
PA DA NI SA
5 6 7 8
So La Ti Do
Drone
The drone is fundamental in Indian music. It is a
canvas against which the raga is played. It consists of
the triad of SA PA SA, sounded continuously, one
after the other; one can sing the melody of any
bhajan/song using the drone for support. The main
droning instrument is called the tanpura. Electronic
drones (called a Sruti box) are also available that adjust
to any scale or key that an individual sings/plays.
Melodic Pattern Exercises
1. Sa Ri Ga Ma Pa Da Ni Sa
Sa Ni Da Pa Ma Ga Ri Sa
2. Sa Ri Sa Ri Sa Ri Ga Ma
Sa Ri Ga Ma Pa Da Ni Sa
Sa Ni Sa Ni Sa Ni Da Pa
3. Sa Ri Ga Ma Sa Ri Ga Ma
Sa Ni Da Pa Sa Ni Da Pa
4. Sa Ri Ga Ma Pa Pa
Sa Ni Da Pa Ma Ma
5. Sa Ri Ga Ma Pa Ma Da Pa
Sa Ni Da Pa Ma Pa Ga Ma
6. Sa Ri Ga Ma Sa Ma Ga Ri
Sa Ni Da Pa Sa Pa Da Ni
7. Sa Ri Ga Ma Pa Ma Ga Ri
Sa Ni Da Pa Ma Pa Da Ni
8. SRG / RGM / GMP / MPD / PDN / DNS

SND / NDP / DPM / PMG / MGR / GRS
9. SRSRG / RGRGM / GMGMP / MPMPD / PDPDN / DNDNS

SNSND / NDNDP / DPDPM / PMPMG / MGMGR / GRGRS
10. SRGM / RGMP / GMPD / MPDN / PDNS

GMDP / NDPM / DPMG / PMGR / MGRS

Tāla
the essential element of time and rhythm
TœŒla denotes an organized rhythmic cycle

composed of various matras, or rhythmic units/ beats.
Example A 8 Beats
Ta Ka Dhi Mi | Ta Ka Jo Nu
1 2 3 4 5 6 7 8
Example B 6 Beats
Ta Ki Ta | Ta Ki Ta
1 2 3 4 5 6

Basic Keyboard Theory
In Western music, the musical alphabet consists of the letters A, B, C, D, E, F, and
G. These letters represent musical pitches and correspond to the white keys on the
piano. As you move forward through the musical alphabet the pitch of each note
gets higher.
The black keys are commonly called "sharps and flats," and are arranged in
groups of twos and threes. Using these black key groups you can identify any
note on the keyboard. C is always the white key immediately to the left of a two
black key group. Once you know where a C is, the other notes fall into
alphabetical order from that reference point.
Applying Indian notation to the keyboard, SA is the same as C, and so forth. SA
can begin on any note on the keyboard, and will continue according to that scale.
For example, if one starts on the note A (SA), E is the same as PA in this scale.
C D E F G A B C
Singing with the Keyboard

1. Play SA Ð PA Ð SA (C Ð G ÐC) simultaneously to create a drone.
2. Against the drone, you can sing any scale or exercise, chant or
bhajan. Practice singing the scale of SA to SA, ascending and
descending, as well as the melodic pattern exercises with the drone.
By doing this, you will learn to hear the placement of each note of
the scale within your voice.
3. Improvise freely with the notes to create your own melodies and
patterns.
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© 2008 Kali Ray TriYoga
SatsaÃga
SatsaÃga
(Sat = truth, saÃga = to come together) is
communal expression in praise of the Divine
consisting of mantras and devotional text.
Chant
refers typically to a mantra which is
repeated and set to melody
Bhajan
is a musical composition consisting of devotional
text with a particular aspect of God as its focus. It
often expresses the seekerÕs desire to know God
fully and express that bliss which is sat cit Œnanda.
SatsaÃga is one of the main

expressions in the yoga path
of Bhakti (devotion) ~ an opportunity for
those with like-minds to come together.
31
Harmonium
from Learn to Play on Harmonium
by Ram Avtar ÔVirÕ
The harmonium, a reed organ, was originally a European instrument. The earliest of
the harmonium group was in Vienna in 1818. When the British took over the rule of
India, they brought several instruments like piano, organ, violin, and harmonium
with them. The harmonium instrument is so easy to play that it quickly became
popular throughout India. Today it is played in every musical setting from chanting
to the film industry.
Five Types of Harmonium

1. Simple Ð the basic one
2. Coupler Ð when pressing the key, the key of the second octave below presses
down. This gives the harmonic effect of different notes. This also increases the
sound.
3. Suitcase Ð simple harmonium for traveling.
4. Scale Change Ð good for those who play only one note.
5. Organ Type Ð made on the basis of a hand and foot harmonium.
Harmonium according to bellows

There are three types of bellows.
Single Ð contains one bellow
Double Ð contains two bellows
English Ð contains several bellows
32
Harmonium based on reeds.
There are male and female harmoniums based on the type of reed used.
Female are high-pitched reeds. Bass reeds are low pitch reeds. More reeds give
more melodious sounds. The reed boards are of various types:
1. Simple reed-board
2. Double reed-board
3. Vertical reed-board
Harmonium Parts
 Body or Box. The basic body of a harmonium is like a rectangular box. It
has a wooden plate at the backside for the bellows.
 Stop-knobs: There are four to five stops in front of harmonium. To increase
the volume, extend more knobs.
 Brass Spring: The brass springs keep the keys in normal position when not
playing.
 Reed Board: The plate in which these keys are set is called reed board. It
contains many holes. On the inner side of the reed board are the reeds. When
the air from the bellows passes through this it tries to come out by touching
the reeds. This produces the sound of the note under which that particular
hole that releases the air.
 Bellows: Bellows remove the air creating sound to be produced through the
reeds.
Once tuned, the harmonium remains in tune for years. However, a slight concussion
on its body would result in its going off the key. Hence it should be handled very
carefully. Following are useful tips for its care:
 Remove cover. Open the bellows
 Pull out front stops. The amount depends on the sound and volume you
want.
 Always place fingers on the keys before blowing air through bellows.
 The left hand is used to press the bellows. The four fingers of left hand
should remain on the slit of bellows and the thumb on the slit of box of
harmonium towards inside. By doing so the pressure on the bellows remains
balanced and exerts correct pressure.
 The sound of the harmonium depends upon the pressure on the bellows.
 Do not blow air through the bellows without opening the stops. Blowing air
without opening the stops will create pressure of air inside the bellows that
will create holes in the bellows.
 Remove air from the bellows by pressing the keys before closing it. Close
the stops after closing the bellows.
 The right hand is used to press the keys.
 The harmonium should not be kept in a damp place. Nor should it be in heat.
The direct sunlight will ruin the polish and color of the instrument.
33
HeÛ MŒtŒ HeÛ MŒtŒ
HeÛ mŒtŒ heÛ mŒtŒ

OÛå Åri mŒtŒ lalitŒåbŒ
HeÛ mŒtŒ heÛ mŒtŒ oÛå Åri mŒtŒ lalitŒåbŒ

HeÛ mŒtŒ heÛ mŒtŒ aåbŒtŒyeÛ lalitŒåbŒ

Kanc· kŒmŒk§i lalitŒåbŒ
MadhureÛ m·nŒk§i lalitŒåbŒ

KŒÅ· viÅŒlŒk§i lalitŒåbŒ
JÆŒna vallabhe lalitŒåbŒ

AåbŒ p¬r÷eÛ lalitŒåbŒ
Can¶· camun¶i lalitŒåbŒ

KanakŒ durgi lalitŒåbŒ
Bhakt· p¬r÷eÛ lalitŒåbŒ
(CD: Datta Smaran 1 & 2 ~ Track 2)
35
Annap¬rna JÆŒna P¬rnŒ
Annap¬rna jÆŒna p¬rnŒ

sŒdadatumeÛ, dhiya mud·rnŒ
Jayatu ÅŒÅvat·, jayatu bhŒsvat·

Jayatu dharmada, jayatu Åarmada
Jayatu pŒvana, jayatu ÅoÛbhana
Jayatu ni§tula, jayatu ni§cala
...Annap¬rna
SvŒparŒdhani ¨moÛka tatparŒ

Annadanasa d·k§itaparŒ
Vyasa garvani ¨vasa ni§turŒ
SaccidŒnanda År· nityabhŒsurŒ
...Annap¬rna
(CD: Surya Deva 2000 ~ Track 5)
36

GoÛvinda Kanna
GoÛvinda kanna goÛpala kanna
MŒdhava kanna yangaÂ yŒdava kanna
GoÛvinda rŒmŒ goÛpala rŒmŒ
MŒdhava rŒmŒ yangaÂ raghukula rŒmŒ
... GoÛvinda kanna
GoÛvinda rŒdheÛ goÛpala rŒdheÛ
MŒdhava rŒdheÛ yangaÂ b¨ndŒvana rŒdheÛ
... GoÛvinda kanna
GoÛvinda s·ta goÛpala s·ta
MŒdhava s·ta yangaÂ raghukula s·ta
... GoÛvinda kanna
GoÛvinda goÛpi goÛpala goÛpi
MŒdhava goÛpi yangaÂ yŒdava goÛpi
... GoÛvinda kanna
GoÛvinda rukmŒ goÛpala rukmŒ
MŒdava rukmŒ yangaÂ yŒdava rukmŒ
... GoÛvinda kanna
GoÛvinda guru goÛpala guru
MŒdhava guru yangaÂ yŒdava guru
... GoÛvinda kanna
GoÛvinda datta goÛpala datta
MŒdhava datta yangaÂ Œtreya datta
... GoÛvinda kanna
GoÛvinda nanda goÛpala nanda
MŒdhava nanda yangal saccidŒnanda
nanda
... GoÛvinda kanna
(CD: Datta Venkata ~ Track 3 & Swamiji 60 ~ Track 19)
38
Deity Yoga
a mirror to learn about our true Self.
Just as a spider weaves the web

and withdraws it back into itself,
the Supreme Spirit projects creation
and merges it back into Its Self.
The Supreme Spirit

or God is ONE,
the non-dual reality.
In creation, this cosmic power manifests all the divine qualities in our soul. This can be
easily understood through Deity Yoga, as each deity represents a divine quality of the
Supreme Spirit as reflected within our soul.
Deity Yoga allows us to look into the mirror of the soul through the use of art and
symbology, so that we may get a glimpse of the Supreme Spirit and all Its glory.
The symbology of the Gods and Goddesses in Indian philosophy express the qualities
of an enlightened soul.
Just as the sun emanates the light rays, the Divine Soul emanates the divine qualities
(deities) through the individual soul.
As our spiritual energy awakens, we begin to realize these divine qualities, as the
Supreme Spirit, resides within ~ destined to radiate from our soul.
There is One Supreme Spirit but the names are many.

Deity Yoga is a way to understand the universal energies that reside
within ourselves. Looking at a deity picture is like looking in a mirror.
Each deity and deity symbol represents a divine quality within ourselves.
The Supreme Spirit is beyond gender; however, male and female gender is used to
define the qualities.
Sometimes the gender is expressed from a Bhakti (devotional) viewpoint ~ the Divine
Father and the Divine Mother. At other times, the deities are shown with their consort
or complimentary energies, such as þiva and þakti; consciousness and energy.
The YOGA VASISTHA gives wonderful insight into the deeper meaning of þiva and
þakti. þiva and þakti are described in the YOGA VASISTHA during the dialogue
between the guru and his disciple RŒma.
39

Sage Vasistha explained: "O RŒma, I have told you how it is Brahman or Pure
Consciousness (Supreme Spirit) who is termed as þiva.
The Energy behind His mental projection is called þakti. þakti is not different from
þiva.
Just as air and its motion, fire and its heat, are not different, in the same way, þiva and
His Energy are one and the same.
Just as the power of motion points to wind, and the power of burning beckons to fire, in
the same way, þakti reveals the glory of þiva”.
Ultimately we are to transcend the pair of opposites, to experience the non-dual

absolute state of consciousness ~ The Pure Consciousness where þiva and þakti merge.
Deity Dictionary
GANEþA / GANAPATI The remover of obstacles, the master of the senses, the giver
of luck, the aspect of God that represents practical wisdom, science and skills.
Ganapati is depicted to look like an elephant. An elephant contains the symbols of
strength, power. A good reminder that we have the power within to remove all
obstacles.
þAKTI Ku÷¶alin·, spiritual energy.
DEVã Universal Mother. þakti. Dev· is shown in various feminine forms. She
represents the Cosmic energy, same as DurgŒ or the Divine Mother. She is the Mother
Goddess.
DURGAÛ The divine cosmic power. The mother of creation, Dev·. DurgŒ
contains three Åaktis: MahŒ Sarasvat·, MahŒ Lak§m·, MahŒ KŒl·. She is the
Åakti of Lord DattŒtreya.
SARASVATã The goddess of mantra, music, knowledge. Rajas Gu÷Üa. Consort

of Lord Brahma.
LAKêMã The goddess of prosperity and wealth. Satvic GunÜa. Consort of
Lord Vi§÷u.
KAÛLã The goddess that destroys negativity. Tamas GunÜa. Consort of Lord
þiva.
DATTAÛTREYA When the formless manifests in form, one of the names of the
Supreme Spirit is called DattŒtreya. DattŒtreya is the divine gift to humankind, known
as the first Guru.
Datta means 'gift'. Treya means three. Lord DattŒtreya represents the Holy Trinity of
Brahma (Creator), Vi§÷u (Sustainer), and þiva (Destroyer of ignorance). These three
40

universal energies reside inside. Everything we successfully accomplish contains these
three powers. We first have an idea (Brahma), then we sustain the idea or vision with
right action (Vi§÷u), then we complete it with the full manifestation of the idea (þiva).
The three cosmic energies are a gift from the Supreme Spirit. Through this, we can
accomplish our purpose on the planet.
BRAHMA The first part of the trinity, the creator. Rajas Gu÷a.
VISÜNÜU The second part of the trinity, the preserver. Sattvic predominant.
þIVA The third part of the trinity, the destroyer of illusion, ignorance. Tamas GunÜa.
NATÜARAÛJA An aspect of þiva. The cosmic dancer. As long as NatÜarŒja is dancing

creation will continue. The master of the five elements: Ether, Air, Fire, Water, and
Earth.
KRêNÝA Kr§÷a means the "attractive" one. The energy of joyfulness, playfulness.
Through playing His flute He charmed many to the spiritual path. Kr§÷a was an
incarnation of Lord Vi§÷u. He is the inspiration of the Bhagavad G·tŒ.
RAÛDHAÛ Name of the divine mother, Lak§m· Dev·. Kr§÷a and RŒdhŒ are consorts that
incarnated from the divine powers of Vi§÷u and Lak§m·.
RAÛMA RŒma is the energy of supreme peace. It is the mantra of protection. Vi§÷u
incarnated as Sri RŒma. The RŒmŒya÷a is about how RŒma restored dharma (right
action) to the planet.
SãTAÛ Name of the divine mother, Lak§m· Dev·. RŒma and S·tŒ are consorts that
incarnated with the divine powers of Vi§÷u and Lak§m·.
HANUMAN The faithful disciple of Sri RŒma. Hanuman is the example for perfect
discipleship due to his unending devotion and discipline.
LAKSÜMã Shown as a divine feminine energy sitting on a lotus with coins flowing
from her hand. This symbolizes that we can lift out of the muddy waters of life to the
light. We can rise above all difficult situations, no matter what they are. The coins
represent prosperity. As ku÷¶alin· awakens (spiritual energy), we realize more and
more our true nature and the prosperity that resides within.
VISÜNÜU The word Vi§÷u means 'one who pervades', one who has entered into
everything. Vi§÷u is a name for the Supreme Spirit that is the transcendent as well as
the immanent reality of the universe.
NAÛRAÛYANÜA NŒrŒyanÜa means the Supreme Spirit; One who is the abode of all
human beings; One who has made the hearts of human beings His abode; One who is
the final goal of all human beings. NŒrŒyanÜa is another name for Lord Vi§÷u.
HARI Hari is a name of the Supreme Self. Another name for Lord Vi§÷u.
IþVARA Om, the original sound of creation, the first manifestation of the formless into
form. IÅvara is known as the personal God. Never bound by karma. Always free.
41

Quotes
There is an intimate relationship between music and God. But this relationship is
established only when Nada (music) is approached with reverence and devotion. Nada
Upasana (worshipful absorption into music) leads to Moksha.
Sri Swamiji
Waters are the most purifying of all things on earth, yet more purifying than waters are the
mantras.
Vedas
In the beginning was the Word, and the Word was with God and Word was God.
St. John
All names are Thine and so are all forms Thine, but all fail to enumerate Thy
countless attributes.
Naam is not the subject of the eyes. It is something wonderful and indescribable.
Guru Nanak
"The universe was manifested out of the Divine Sound; From It came into being the
Light."
Shamas-i-Tabriz

After silence, that which comes nearest to expressing the inexpressible is MUSIC.
Aldous Huxley
42

Leaving aside all thy learning and cunning, worship the Great Formless beyond Brahman.
Except the Naam all others fall away.
The Vedas, the Smritis and all other sacred scriptures unanimously proclaim that besides
Naam there is no other Sadhana for spiritual advancement; all else is mere idle talk.
Guru Arjan
Thy Word is a lamp unto my feet, and a light unto my path.
The Psalms
In the Kali Yuga, only the name (of Hari) can enable a person to cross the ocean of
transmigration. There is no other way.
Brihat Naradeeya Purana
The repetition of the pranava mantra (one's chosen mantra) and the contemplation of its
goal, the Self, who is of the nature of Consciousness, enables the mind of the yogi to
become concentrated.
Yoga Sutras
Music is my language, music is my expression, music is my religion.
Sri Swamiji

Seek the Sound that never ceases, seek the sun that never sets.
Rumi
43

The mantra is like a planted seed waiting to be cultivated, nurtured and cultured. The
word mantra is also derived from the same verb root man. For a meditator, mantra is the
object of thought, contemplation and meditation, progressively. In the first stages, an
initiate merely repeats the mantra thought. Then contemplates what it signifies and to
what experience it leads. Finally, it permeates the entire mind. Having replaced the
random thoughts at the thinking stage and intellectual processes at the contemplative
stage, the mantra finally purifies the subconscious impulses and emotions and becomes the
thread leading from the finite transient to the infinite transcendental.
Mantra and meditation are two sides of the same coin. Mantra is the means, and
meditation is the method.
Mantra has four bodies or sheaths. First, as a word, it has a meaning; another more subtle
form is its feeling; still more subtle is a deep intense and constant awareness or presence,
and the fourth or most subtle level of the mantra is soundless sound.
Pandit Arya
Many have done japa with the wooden malas. But you should not do that. You should use
the mala of breath in which there is no Guru bead.
By constant remembrance of one's chosen deity, the seeker forgets himself f and assumes
the form of the deity himself.
Nada is found within. It is a music without strings which plays in the body. It penetrates the
inner and the outer and leads you away from illusion.
Kabir
The HAMSA mantra comes out of OM, and HAMSA becomes So'Ham when it is reversed. Ham
is Shiva, and Sa is Shakti. When 'SA' and 'HA' are dropped from So'Ham, just 'OM' remains.
Yoga Svarodaya
One should shoot the target of the ultimate truth with the arrow of the mind and the help
of the bow of the mantra OM. If one does this, one will merge into the ultimate Truth.
Mundaka UpanisÜÜad
44

Kundalini is the origin of Gayatri, which is an embodiment of Prana Shakti. This great
Gayatri is the maha vidya (great knowledge) which is of the form of prana vidya. One who
knows this vidya is the knower of the Vedas.
Pranava is that through which all the ripples of prana merge back into the Supreme Being.
UpanisÜÜad
46(b)-47(a). The sound proceeding from Pranava which is Brahman is of the nature of
effulgence; the mind becomes absorbed in it; that is the supreme seat of Vishnu.
47(b)-48(a). The sound exists till there is the Akasic conception (Akasa-Sankalpa). Beyond
this, is the (Asabda) soundless Para-Brahman which is Paramatman.
48(b). The mind exists so long as there is sound, but with its (sound’s cessation) there is
the state called Unmani of Manas (viz., the state of being above the mind).
49(a). This sound is absorbed in the Akshara (indestructible) and the soundless state is
the supreme seat.
49(b)-50(a). The mind which along with Prana (Vayu) has (its) Karmic affinities destroyed
by the constant concentration upon Nada is absorbed in the unstained One. There is no
doubt of it.
Nada-Bindu Upanishad
"The Sound is inside us. It is invisible. Wherever I look I find it."
Guru Nanak, 16th century Sikh guru

"High above in the Lord's mansion
ringeth the transcendental music.
But, alas, the unlucky hear Him not;
They are in deep slumber."
Guru Nanak
45

"Sound, stars, and light are all inside."
Maharaj Sardar Bahadur Jagat Singh
"Seek the true Master with faith, love, and patience.

He will give the Light to find the hidden entrance.
If with constant effort you attune the Inner Ear,
The way to God opens and the Path will be clear."
Tulsi Sahib 19th century Master of Sound & Light
There are three traditional forms of chanting in Nada Yoga: mantras, kirtan and bhajans
"Seek the Sound that never ceases, seek the sun that never sets."
Rumi

The Sound is inside us. It is invisible. Wherever I look I find it.
Guru Nanak
Quotes by Kaliji
Mantra is composed of the two Sanskrit roots: man (mind) and tra (to protect, to liberate).
Sanskrit mantras celebrate Names of the Divine or Divine Attributes.
During kirtana, the mantras are chanted as call and response. To receive the greatest
benefit, focus on the mantra. Chant either out loud, mentally, or simply listen to the sound.
Through mantra repetition, meditation spontaneously arises.
46

Nada has two scales, the descending and the ascending scale. From para, pashyanti and
madhyama to vaikhari is the descending scale, and from vaikhari, madhyama and
pashyanti to para is the ascending scale.
Writing the Divine name is called likhita.

Repeating the Divine name is called japa.
Singing the Divine name is called kirtana and
praising the Divine name in melodious songs is called bhajan.
When you take the Divine name in any of these forms with devotion, the mind will calm,
the spiritual heart will open, and bliss will flow forth.
In kirtana, mantras are chanted that represent the form, the attributes of the Supreme Self.
These different forms are called deities. The deities' relationship to the Supreme Self is that
of the sun's rays to the sun.
The Cosmic Power resides within, shining like the sun. The rays are the pranic currents
carrying these divine attributes to the physical plane. As the mind calms, these energies
shine through us like the rays of the sun.
The chanting of mantra is a very powerful affirmation. Through chanting, the mind is
purified and the mantra is realized. It is like putting the mind into a washing machine, the
mantra is like the stain remover. After the mantra cycle, the mind is clean and ready to
wear again.
The Supreme Self manifests as universal sound, and pervades all of creation.
47

The three arts of ganam (singing), vadanam (playing instrumental music), and nartanam
(dancing) are jointly known as sangita (music).
JAPA, the repetition of mantra, has 3 stages:
Vaikhari… the mantra is pronounced out loud

Madhyama… the mantra is pronounced with aspirated breath
Pasyanti… the mantra is pronounced mentally
Para… the mantra repeats by itself (AJAPA, the spontaneous repetition of mantra)
Namasankirtana, chanting the name of the Divine, is proclaimed by saints to be the easiest
path to Self-Realization. Chanting awakens bhakti yoga, the path of devotion.
Just as a child is lulled to sleep by lullabies, just as a person is pleased with good words
from another, just as a beautiful melody can open the heart; the practice of
namasankirtana will result in saccidananda (existence, knowledge, bliss).
This is the prasad, spiritual gift of nada upasana ~ the effortless absorption into
nada brahma, …the source of sound.
48
Notes
49

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NŒda Chikitsa

Healing through Sound

From sound flows the ageless truth.

Sound creates. Sound sustains.

Sound is the redeemer. Sound is the transformer.

Sound is all that is.

Sound plays to our heart.

Sound is the instrument of the divine.

Sound is the substratum of all that exists.

Take the realized journey into Nada Chikitsa,

We are each sound vibration called a soul.

Heal through sound. Heal through the ageless truth.

Dance in the flow of rhythm, on the pulsation of AUM,

© 2008 Kali Ray TriYoga 1

What food is to the body, music is to the soul.

Bhojana (food) is for development of body, so is bhajan

Sri Ganapathi Sachchidananda Swamiji

© 2008 Kali Ray TriYoga 2

þabda Brahman…, the Inner Self is pure sound vibration

© 2008 Kali Ray TriYoga 3

This monosyllable mantra harmonizes body, mind, and spirit.

Guidelines for Chanting OM

1. Find a pitch (placement in your vocal range) that you

2. Sing out loud on your own to gain confidence.

3. Thru experience, choose the best pitch that is suitable

Tips: It is helpful to get the starting note from a

© 2008 Kali Ray TriYoga 4

Three Manifestations of Sound:

When þabdabrahman ~ Supreme Spirit as Sound, is in the unmanifested state, it is

Speech manifests in four stages:

© 2008 Kali Ray TriYoga 5

Object Word Mantra SaÃg·ta

Japa (repetition of mantra)

K·rtana (devotional chanting)

© 2008 Kali Ray TriYoga 6

© 2008 Kali Ray TriYoga 7

Meditation on mantra secures sympathetic attunement of the center of

Mantras are used to focus the mind. Through concentration

(practice the following with Sanskrit Mantra CD)

þuklŒmbara dharam visÜnÜum

Waters are the most purifying of all things on earth,

(GŒya is one who sings (the mantra); tri means protects)

Om Bh¬r Bhuvas Suvaú

Let us contemplate the wondrous spirit of the Divine (Savitri) of the

Guru Prarthana Mantra

BrahmŒrpanÜam brahma havihÜ brahmŒgnau brahmanÜŒ hutam

The act of offering in the sacrifice is Brahman, what is offered (the

Om Sri Annaurna Lakshmi Ki Jai

Om lead us from unreal to the real;

Om peace peace peace!

P¬rnÜamadahÜ p¬rnÜam idam p¬rnÜŒt p¬rnÜamudacyate

HarihÜ Om þriÚ Gurubhyo NamahÜ HarihÜ Om

þriÚ Ga÷eÅŒya Namaú

þriÚ Ga÷eÅŒya Namaú

þriÚ Ga÷eÅŒya Namaú

Dhanam agnir dhanaå vŒyuh

PrÜthvi garbha samudbhinna

Putra pautra svar¬penÜa

Nitya saubhŒgya sauÅiÚlyŒå

DŒridrya dukha haranÜaå

þriÚ Ga÷eÅŒya Namaú

þriÚ Ga÷eÅŒya Namaú

SŒdhutvam bhakti maiÅvaryam

þriÚ Ga÷eÅŒya Namaú