A Twelve Months

Mrdanga Course
by Bablu Dasa
Compiled by Gaura-Siromani Dasa

Garanhati Publishers
1

For further information please contact: Bãblu Dãsa Bhaktivedanta Gurukula Krishna-Balaram Mandira Bhaktivedanta Swami Marg Vrindavana Mathura 281124 U.P.

© 2000 Garanhati Publishers All rights reserved Printed in India Cover design: Art Box Theo Krohn Hamburg Cover printed in Chech Republic Illustrations: Sybilla Huy

First Month
Practice Time Hasta-Sãdhana—Hand Practice
Hasta means “hand” and sãdhana, “that what makes perfect”. These hand practices are essential for learning proper Mrdanga playing. They enable you to master the different techniques and beats and help you to understand the basic rhythms. Practicing hastasãdhana is like learning the letters of the alphabet. Practice them steadily every day.

 HS 1  HS 2  HS 3a  HS 3b  HS 3

#tere #kheta #tere #kheta #tere #tere #kheta #tere kheta #tere kheta #tere tere #tere kheta #tikhi takhi #tere kheta #kheta takhi #tere kheta #tere kheta #tere kheta #tere tere #tere kheta #tikhi takhi #tere kheta #kheta takhi #tere kheta
te re khe ta tere tere kheta ti khi ta khi khe ta ta khi Right 4 closed Right thumb Left closed Right 4 open (like tere above, 2 times) (as above) Right 4 closed Left closed Right 4 open Left closed Left closed Right thumb (This ta is played like re!) Right 4 open Left closed

Translation

How to Practice

 Tere kheta (HS 1) is the bìja-mantra of the Mrdanga. Bìja means “seed”— from this mantra all other mantras sprout like a huge Banyan tree grows from a small seed. Therefore, practice this mantra with great care. In the first two weeks of this course, practice only tere kheta tere kheta~ This gives you a solid foundation for all mantras to come. If you find it too boring then see it as a test of your determination to learn the real art of Mëdaùga. Carefully read the next section (“How to improve the hand”) and follow the advice given therein.  In order to manifest this mantra properly, you have to accentuate the first syllable, te. Beginners tend to play the khe stronger than the te—thus it

sounds like kheta tere kheta tere. This is not proper. Listen to the CD how to play tere kheta.  To play a mantra continuously means that upon reaching the end you repeat it immediately without space. To help you find the rhythm, we have inserted the mãtrã dashes. Mãtrã means “beat”; the small dashes above the syllables thus help you to count the beat properly. Thus, in HS 1 you have to count two times, in HS 2, five times, in HS 3, four times to play one full mantra, etc. If necessary, take the help of a metronome for some time.  After two weeks, you should be ready for the next mantra (HS 2). The combination tere tere is extremely important. You will meet it in many mantras, and you will have to play it in double speed. Without learning this technique, you cannot enter into kìrtana beats. Therefore, practice this mantra for about one week until you are be able to play tere tere swiftly. Please study carefully the chapter about stroke techniques (page xxx).  Now you should be ready to go to the next two mantras. In HS 3b, a new technique is invented. kheta takhi means to invert the stroke order. Instead of playing 4 fingers—thumb, you play thumb—4 fingers. Again refer to chapter about stroke techniques. Practice both mantras for a few days.  Finally, practice HS 3. It is HS 3a and HS 3b combined, so you should be ready for it immediately. This is the basic hasta-sãdhana-mantra. It will accompany you for the next few months. At least once or twice a week you should practice this mantra for one or two hours. By this, your hand becomes very smooth and you will gain a clear, sweet and powerful stroke.

Second Month
Practice Time Hatuti—Learning to Speak on the Mëdaùga
By hasta-sãdhana you make your hand perfect. These mantras enable you to develop the different techniques, to acquire a clear, strong and sweet stroke, and to concentrate the mind. Your feeling for rhythm and balance of both hands is also trained, and you learn how to sit with the Mëdaùga and how to hold it properly. As we have compared hasta-sãdhana to learning the alphabet of the Mëdaùga, we introduce now the many different words. They are called hãtuti. Hãt means “hand” and tuti, “repeating again and again”. Like hasta-sãdhana, the different hãtuti-mantras are repeated again and again, for one or two hours continuously, in order to train the hand. The difference is that all hãtuti are part of the language of the Mëdaùga. All kìrtana melodies are composed of different hãtuti-mantras, either partially or in complete form. Thus, by learning hãtuti, not only will your hand become very strong but you also learn to speak on the Mëdaùga, by meeting the vast realm of different tãla and rhythms. In other words, hãtuti introduce you into the system of playing melodies on the Mëdaùga. This system is as old as the Mëdaùga itself. It is the foundation of the Mëdaùga. The name hãtuti is mentioned in books from the time of the Gosvãmìs. Without learning these mantras you will not be able to manifest proper melodies. In this course we present the first sixteen hãtuti-mantras, out of many thousands. They give you a solid fundament. So please study them carefully and practice them with determination and patience.

Hatuti 1—The Mahã-Mantra of the Mëdaùga
This mantra is essential for learning Mëdaùga. All power in kìrtana, all feeling for rhythm and dynamic come from this mantra. Therefore we will employ the next two months to introduce it. Here is the first part. It has two different forms. When you play in single speed, you speak:

 HA 1a
Translation

#ghenere #ghena #jha #ghenere #ghena #jha #ghena/*#jha
ghe nere ghe na jha Left open (same as tere—played with double speed) Left open Right open Left open + Right 4 open

When you play in double speed—the standard speed for this hãtuti—you will not be able to pronounce the above mantra properly because it is too fast. Therefore, while playing the same beat, you speak:

#da guru #gur da #guru gur #da gur
Translation da guru gur (like jha above, but Right 4 closed) (same as ghenere) (same as ghena)

How to practice

 As you see, both mantras are identical, except that you have to play da with the right hand closed. (That high pitch adds a special touch, so carefully

5

observe the difference.) The last one is an abbreviation, so to say. Another difference, of course, is that the double speed mantra bears only four mãtrã dashes instead of eight, since it is played in half of the time you need for playing in single speed.  The single speed mantra actually starts with the last jha (which becomes the first da of the double speed mantra). But since the tãla or beat begins with the first ghenere, you have to play from there. The jha at the end of the first line is actually the first jha of the second line. Therefore, we have put the “+” sign above it. This sign is called soma.1 It means that this note is played only if you repeat the same mantra or end here. If you go to another mantra, this note is skipped. You will meet with this sign later on. Thus, when you play the single speed mantra repeatedly, it looks like that: ghenere ghena jha ghenere ghena jha ghena jha ghenere ghena jha ghenere ghena jha ghena jha ghenere ghena jha ghenere ghena jha ghena~ Don't become too much confused of this detail. It tells you that a mantra is not necessarily played from where it starts. Sometimes the tãla begins somewhere in the middle of a mantra and then you start to play from there. The same principle is found in our Western music, in the sense that you often start to play from the middle of a beat.You will get another example when we introduce the first kìrtana beat. The double speed mantra, however, always starts with the first da. Thus, when you change from single speed to double speed, you skip the last jha (because it is soma) and immediately start with da guru gur~. In other words, you play like this:

#ghenere #ghena #jha #ghenere #ghena #da guru #gur #da guru gur~

#ghena #jha #ghenere #jha #ghena #ghena #jha #ghenere #jha #ghena da #guru gur #da gur #gur da #guru gur #da

 In order to manifest the mantra properly, take care that the left hand strikes in a clear, constant rhythm. Study the mantra carefully. It has eight mãtrã dashes or beat marks. On each of these eight mãtrã you strike on the left side with open sound, by playing either ghe or jha. All these eight strokes should be exactly uniform, like a clockwork. The jha should not be louder than the ghe. Also take care that you play nere with double speed—else the following ghe will come too late and you break the rhythm. If you carefully observe these points, the mantra will manifest its full power, especially when you play in double speed. Carefully listen to the recording on the enclosed CD.  Practice this mantra for two weeks continuously. Start very slowly, speaking jha ghenere ghena jha ghenere ghena jha ghena~. Try to get a feeling for the rhythm, under due consideration of the above points. Play loudly and concentrate on striking the left skin with constant, uniform beat. Then, as you increase the speed, speak da guru gur da guru gur da gur. Take care to play da with the right hand closed, without making the left-hand stroke louder. Then the beat becomes very dynamic. In the first two weeks of the second month you should practice only this mantra, and from time to time the hasta-sãdhana HS 3. Don't think you already know either of these mantras—to come to the level required for later kìrtana beats, it needs months of steady practice. So keep on trying.
1

Pronounced “shom”, with long, closed o, as in yoga.

Hãtuti 1—Decoration for the First Part
The mantra becomes complete only with the following decorations. First study them carefully and practice seperately. However, to play them properly, you have to be even more fast than before, Therefore from now on, we put only two mãtrã dashes on da guru gur da guru gur da gur.

 HA 1b  HA 1c  HA 1d

(#dad dhei ta #guru gur da gur #da guru gur da #guru gur da gur)§ (#dad dhei ta #guru gur da gur)§  #da guru gur da #guru gur da gur (#dad dhei ta)§  #guru gur da gur #da guru gur da #guru gur da gur
dad Left open + Right 4 closed dhei Left open + Right 4 open (strong sound) ta Right 4 open guru gur da~ (as in HA 1a)  Here, an abbreviation is introduced in the mantra language. The scheme (aaa)§ means that you repeat the part in brackets three times (or whatever number is placed behind the brackets).  Look at the rhythm. Don't play dad dhei ta as a triplet. The ta is clearly shorter than the dad and dhei. If you divide the mãtrã into eight parts then dad occupies three parts, dhei again three parts, and ta the remaining two. This looks as follows:

Translation

How to Practice

#dad '

'

'dhei '

'

'ta '

Listen to the CD and try to get a feeling for the rhythm.  If you count the beats, you will see:  One dad dhei ta is as long as da guru gur da.  That means, dad dhei ta guru gur da gur is as long as da guru gur da guru gur da gur.  Thus, HA 1b is 6 times as long, HA 1c 4 times as long, HA 1d 3 times as long as da guru gur da guru gur da gur. Take a metronome to recognize the rhythm. First speak the mantras loudly while counting the mãtrã on the metronome, then add the Mëdaùga. If these explanations are too technical for you then just listen carefully to my playing on the CD and try to follow. Still, it is better to get a proper understanding of the mãtrã by studying this paragraph. Then your beat will be established on a solid basis.  Take care that the dhei is played very strongly—it bears the rhythm of this mantra. Observe that especially when playing dad dhei ta dad dhei ta dad dhei ta (in HA 1d).  After the first two weeks, include HA 1b to your practice schedule. First, play HA 1a for ten or twenty minutes until it manifests swiftly and easily, then go to HA 1b. Practice in this way for some days, then go to the next two mantras. They should be no problem by now, since they apply the same technique.

Hãtuti 1—The Complete First Part
Now you should be ready to assemble the above parts and play the complete first part of hãtuti 1. Practice for the rest of the second month, by playing continuously:

 HA 1-1

(#da guru gur da #guru gur da gur)& (#dad dhei ta #guru gur da gur #da guru gur da #guru gur da gur)§ (#dad dhei ta #guru gur da gur)§ #da guru gur da #guru gur da gur (#dad dhei ta)§ #guru gur da gur #da guru gur da #guru gur da gur
 Start slowly, by playing ja ghenere ghena~ for some minutes. Then, change to da guru gur~ and play the above mantra continuously for at least one hour, as usually.

How to practice

Third Month
Practice Time
More Hasta-Sãdhana
This mantra prepares your hand for the second part of hãtuti 1.

 HS 4
Translation

#ghene nere #ghena geda #khene nere #khena kheta
ghe ne nere ghe na ge da khe ne nere khe na khe ta Left open (like tere) Left open Left open Right 4 open Right 4 closed (strong and sharp sound) Left closed (as above) Left closed Right 4 open Left closed Right 4 open (not strong like the da above) Right thumb (same as re)

How to practice

 Here, a very important technique is introduced. On ne—ne—re, you play thumb—four fingers—thumb. To do so, you first have to move the hand up so that it can swing freely. In other words, while playing ghe or khe with the left hand, the right hand swings upwards without touching the skin and then moves down to play the first ne. Carefully study the explanation in the technical part (page xxx).  Take special care of proper balance. All eight strokes of each line have to follow each other in exact sequence one after another, like a machine. As you get faster, you might tend to play ghena/khena as one stroke. Avoid that in order to manifest the proper rhythm.  Also note that the da is played very strongly, with sharp, closed pitch. Such a note is expresed in the mantra language by being underlined. This tone bears the melody. The ta in the second line, however, is played without emphasis. Listen to the CD.  Practice this mantra for one week. You have to come to double speed level in order to apply it in the second part of hãtuti 1. Also, continue to practice HA 1-1, and also HS 3, at least on one or two days

Hãtuti 1—The Second Part
Like in Part One, you first learn the basic beat and then some decorations. Again, the mantra is pronounced by da, guru and gur, but now these syllables mean something different. Carefully study the mantra before starting to play.

9

 HA 1e

#da dere dere ghena ghena #jha da guru guru gur da gur
da de re ghe na jha ghena da guru gur Left open + Right 4 closed Left open + Right 4 closed Right thumb Left open Right 4 open Left open + Right 4 open (as before) (as da above) (like dere) (like ghena)

#da dere dere ghena jha ghena da guru guru gur dagur

Translation

How to practice

 Now you can test if you have practiced tere tere properly, since this is exactly what your right hand plays on guru guru—however, in double speed, since this is a double speed mantra.  Again note that the jha changes to da when you speak da guru gur. Then you have to play with the right hand closed instead of open, as in HA 1-1.  Proper balance between both hands is very important for this mantra. That means:  On the gu of guru guru (dere dere), both hands must strike simultaneously to produce the de. Your right hand might tend to be slightly delayed. Then the mantra will not manifest properly.  On gur (ghena), avoid to play the ghe and na simultaneously. They must come in clear sequence one after the other.  Like in the first part, the left hand beats with constant, uniform stroke, here twelve times in one mantra. Study again the explanation to HA 1a (on page 6).  Practice this mantra for one week or more, until you can play it as fast as the first part.

Hãtuti 1—Decoration for the Second Part
Here, we introduce another “abbreviation” which will be often used in kìrtana-mantras. Study the following notation—now you will see why you got the hasta-sãdhana HA 4 for preparation:

#ghene nere ghena da #gher geda
Translation ghene nere ghena (like in HA 4, but the first ghe is very strong) da Left open + Right 4 closed (right hand strong) gher geda How to practice (same as ghene nere) (same as ghena da)

 Note that the first ghe is very strong. It bears the melody. The other two left hand strokes (the second ghe and the da) have to conform to the uniform rhythm of da guru guru gur—they should be neither stronger nor weaker. Also note that the da is played with sharp, strong right-hand stroke—without getting stronger on the left hand, however! This needs some practice.

With these explanations, you will immediately understand the following mantras:

 HA 1f

(#gher geda #guru gur guru gur #da guru guru gur #da guru guru gur #da gur da gur)§ (#gher geda #guru gur guru gur )§ #da guru guru gur #da guru guru gur #da gur da gur (#gher geda)§ #guru gur guru gur #da guru guru gur #da guru guru gur #da gur da gur
 First, study the timing. The following parts have all the same length:  da guru guru gur  da gur da gur  gher geda  guru gur guru gur (which means dere ghena dere ghena).

 HA 1g

 HA 1h

How to practice

 If you have practiced nicely until now, you should be able to manifest these mantras in a few days. Practice HA 1e continually for ten or twenty minutes, starting slowly, until it manifests swiftly and easily, then go to HA 1f. Practice for some days in this way, then add the two remaining mantras (HA 1g and HA 1h).

Hãtuti 1—The Complete Second Part
Now you should be ready to assemble the above parts and play the complete second part of hãtuti 1. Practice for about one week until you can play it with ease.

 HA 1-2

#da guru guru gur #da guru guru gur #da gur da gur (#gher geda #guru gur guru gur #da guru guru gur #da guru guru gur #da gur da gur)§ (#gher geda #guru gur guru gur )§ #da guru guru gur #da guru guru gur #da gur da gur (#gher geda)§ #guru gur guru gur #da guru guru gur #da guru guru gur #da gur da gur
 Note that, as contrary to HA 1-1, the first line is not repeated.

How to practice

Hãtuti 1—Ending (Tehãi)
Before showing the complete hãtuti 1, we introduce a mantra which is played at the end. This kind of mantra is called tehãi. (More on tehãi you will hear later.)

 HA 1-TEH

(#tere kheta #gi ghi nake/#jha guru gur)§

        or #tere kheta #gi ghi nake #jha guru gur #tere kheta #gi ghi nake #jha guru gur #tere kheta #gi ghi nake
Translation tere kheta gi ghi na ke jha guru gur How to practice (as usual) Left open Left open (stronger than gi) Right 1 up Left open (not strong) Left open + Right 4 open (strong) (as in HA 1-1)

 Look at the notation. The scheme (aaa bbb/ccc)§ stands for aaa bbb ccc aaa bbb ccc aaa bbb.

It is a standard system for dividing a beat into three parts. In other words, you repeat the mantra three times, but the third time you only play until the “/” and then continue with the next mantra. For example, if you practice HA 1-TEH continuously, you play without space: tere tere tere tere tere tere kheta kheta kheta kheta kheta kheta gi gi gi gi gi gi ghi ghi ghi ghi ghi ghi nake jha nake jha nake nake jha nake jha nake~ guru guru guru guru

If you play the tehãi at the end of the hãtuti, you go back to the beginning of the mantra after the last tere kheta gi ghi nak without interruption. This system is applied by all tehãi, so study it carefully.  Again, study the timing by counting the mãtrã dashes. The following parts have all the same length, namely one mãtrã:  da guru gur da (in HA 1-1)  da guru guru gur (in HA 1-2)  tere kheta (in HA 1-TEH) Now you will understand why this hãtuti is a double speed mantra. In the same time you play tere kheta in the tehãi with normal speed, you have to play da guru gur and da guru guru gur—which means, in double speed.

 Practice this mantra for some days, but also continue to play HA 1-1 and HA 1-2. Then, at the end of the third month, you should be ready for the complete hãtuti 1.

Hãtuti 1—The Complete Mantra
Now we can assemble all the above parts and play the complete hãtuti 1.

 HA 1

(#da guru gur da #guru gur da gur)& (#dad dhei ta #guru gur da gur #da guru gur da #guru gur da gur)§ (#dad dhei ta #guru gur da gur)§ #da guru gur da #guru gur da gur (#dad dhei ta)§ #guru gur da gur #da guru gur da #guru gur da gur #da guru guru gur #da guru guru gur #da gur da gur (#gher geda #guru gur guru gur #da guru guru gur #da guru guru gur #da gur da gur)§ (#gher geda #guru gur guru gur )§ #da guru guru gur #da guru guru gur #da gur da gur (#gher geda)§ #guru gur guru gur #da guru guru gur #da guru guru gur #da gur da gur (#tere kheta #gi ghi nake/#jha guru gur)§
 Play continuously. There is no space between the first and second part or between the second part and the tehãi. After having repeated tere kheta gi ghi nake for the third time, go back to da guru gur da guru gur da gur without interruption. To make it clear, at the end of the mantra, you play: da guru guru gur da guru guru gur da gur da gur tere kheta gi ghi nake jha guru tere kheta gi ghi nake jha guru tere kheta gi ghi nake (going back to the beginning) da guru gur da guru gur da gur~  This mantra will be your main object of practice for the next month. Try to come to real double speed level. Particularlay observe the change from the first to the second part—there should be no interruption in the rhythm of the left hand and the right hand immediately has to manifest dere dere in proper stroke. Later, you will derive a lot of benefit from this training.

How to practice

Fourth Month
Practice Time
More Hasta-Sãdhana
As I said, in this month you should practice mainly hãtuti 1. Here are two additional hasta-sãdhana-mantras that help to improve your hand. The first one is especially useful to make your hand loose and to increase the concentration of your mind.

 HS 5

#khete tete tete kheta #khete tete kheta khete #tete kheta tete kheta #tete tete tete kheta #tete tete kheta tete #tete kheta tete kheta #khete tete tete kheta #tete tete tete kheta #khete tete kheta khete #tete kheta tete kheta #tete tete kheta tete #tete kheta tete kheta #khete tete kheta tete #kheta tete tete kheta #tete kheta khete tete #kheta tete tete kheta #tete kheta tete kheta
khete tete kheta (like khene in HS 4) (like tere) (like khena in HS 4)

Translation

How to practice

 Look how the mantra is constructed. The first double line (khete tete tete kheta~ tete tete tete kheta~ tete kheta) is a complete sequence. It can also be played seperately. In the next lines, this sequence is reduced step by step, until in the end only the last tete kheta of each half line remains. You will have to concentrate strongly to play without mistake. Loudly pronounce the mantra; learn it nicely by heart.  Take care of proper balance. The combination kheta khete tete is very important for later kìrtana beats. Play khe—ta—khe in clear sequence. When you get faster, you will tend to play khe and ta simultaneously—then the second khe comes too early and you break the rhythm. Also note that the second khe (of khete) is played stronger than the first one. By this, you manifest the melody of this mantra. If you like, you can practice khete tete kheta separately for some time. Carefully listen to the recording on the CD.  First, practice the first double line separately, then the second double line, then the complete mantra. For some time, practice alternately one day this

14

mantra and one day hãtuti 1, then go to the next hasta-sãdhana.

 HS 6

#tere kheta tere tere #kheta tere tere tere #kheta khete tete tete #kheta tere kheta khete #tete kheta tak tere #kheta tikhi takhi tere #kheta kheta takhi tere kheta
tere kheta khete tete kheta tak tikhi takhi~ (as usual) (like in HS 5 above) Right 4 closed (very strong and sharp sound) (like in HS 3, page 3)

Translation

How to practice

 This is the “advanced version” of HS 3. From now on until the end of this course, practice this mantra regularly at least once or twice a week, instead of HS 3. It will make your hand very fast, strong and soft.  As in HS 5, take care of proper balance. Study again the explanation above.  The tak has to be played sharp and strong, even when you get fast (means: double speed). This is possible only if your hand becomes loose and you learn to play the closed stroke very precisely.

Hãtuti 1—Decorations
The following five mantras are called dvãra or “gate”. They are a nice introduction to hãtuti 1. First, learn them separately, then I explain how to use them together with hãtuti 1.

 HD 1

(#tete tete #kheta tak #da ghi nake #jha uru #take take #tete kheta #da ghi nak uru)§ #da ghi nake #jha guru gur da ghi #nake jha guru gur #da ghi nake
te te tete khe ta tak da ghi na ke jha uru sequence) ta ke take tete kheta da ghi nak uru Right 3 closed Right 1 closed (same again) Left closed Right 3 closed Right 1 up Left open + Right 4 open Left open Right 1 up Left open (not strong) Left open + Right 4 open Right 4 open, then thumb, then 4 open (in swift Right 4 open Left closed (same again) (like tere kheta) (like da ghi na above) (as above)

Translation

da ghi nake jha guru How to practice

(as above) (as in HA 1-TEH)

 The combination uru is frequently used in kìrtana beats. Since it is a triplet, it has to be played in triple speed!  This mantra and the following ones are not played too fast. They are in single speed—thus, the guru gur sections in them automatically have to be played in double speed.

 HD 2

#dhow kheta #dheiya #guru gur dhini #dheiya #tere kheta #tak dhini #dheiya #khi khi tak #jha khi khi #tak jha #khi khi tak
dhow kheta dhei ya guru gur dhi ni dheiya Left open + Right open (as usual) Left open + Right open Right 4 open (as usual) Left open + Right 1 closed Right 3 open (as before)

Translation

tere kheta (as usual) tak Right 1 up dhini dheiya (as before) khi khi tak jha Left closed (2 times) Right 1 up (as usual)

 HD 3

{(#da guru gur dhena)§ #jha guru gur}§ #takhi tata #kheta tata #kheta takhi #ta guru gur #dheiya ti #neta kheta #kheta takhi #ta
da guru gur (as usual) dhe (like jha) na Right 4 open jha guru gur (as usual) ta khi tata kheta takhi ta guru gur dhei ya ti Right 4 open Left closed Right 4 open (2 times) (as usual) (as before) Right 4 open (as usual) (like jha) Right 1 closed Right 3 closed

Translation

ne Right 1 closed ta Right 4 open kheta takhi ta (as above)

How to practice

 Here, two repetitions are interlocked. After having played da guru gur dhena three times, you play jha guru gur; this whole sequence has to be repeated three times.

 HD 4

(#dad dhin #nak dhin #nak dhin #jha guru gur)§ #dheiya #ta kheta #da ghi ne#ta kheta #kheta dh#eiya #da dhei#ya
dad dhin nak dhin jha guru gur dhei ya ta kheta da ghi ne ta dheiya, da Left open + Right 4 closed (like jha—left hand stronger than the dad before) Right 1 up (as before) (as usual) (like jha) Right 4 open Right 4 open (as usual) Left open + Right 4 closed Left open (stronger than the da before) Right 1 open Right 4 open (as before)

Translation

How to practice

 Note the beat: dheiya ta kheta~ is a triplet rhythm; dhei is twice as long as the other notes.

 HD 5

(#dad dhin #nak dhin #neda/#jha guru gur)§ (#jha jha #guru gur da gur #da guru gur da #guru gur da gur #jha jha guru gur #da guru gur da #guru gur da gur)§
dad dhin nak dhin (as in HD 4 before) ne Right 1 closed da Left open + Right 4 closed jha guru gur da~ (as usual)  Note in HD 5 that the first pair of jha jha is twice as long as the second one.  When you can play these mantras nicely, combine them with hãtuti 1. Play in the following way, without space between the different parts. This is the standard system of playing hãtuti 1. In the next chapter you will learn one mantra that serves as connection between other hãtuti. (ghenere ghena jha ghenere ghena jha ghena/jha)& HD 1 ghenere ghena jha ghenere ghena jha ghena HD 2 ghenere ghena jha ghenere ghena jha ghena HD 3 HD 4 HD 5 HA 1 (play continuously) The first line reads as follows: You repeat the whole line six times, but the

Translation

How to practice

last time you don't play the last jha; instead you go immediately to HD 1.  Practice in this way for the rest of the month, but don't forget the new hasta-sãdhana-mantras.

Fifth Month
Practice Time
Common Decoration Mantra for All Hãtuti
In the following, we will present more hãtuti. You can play them separately or combine them. If you combine them then you have to play the following mantra in between, leading over from one hãtuti to the next one.

 HD 0

#jha guru gur #dad dhena (#da guru gur da #guru gur dhena)§ #jha guru gur #dad dhena [#da guru gur da #guru gur dhena/#*jha
jha guru gur dad dhe na da guru gur dhena (as usual) Left open + Right 4 closed Left open (strong sound) + Right 4 open Right 4 open (as usual) (as before)

Translation

How to practice

 After having played one hãtuti, if you want to continue with another one instead of repeating the same one, you have to play D0 between the two hãtuti, without space.  Here you meet again with the soma, indicated by the “+” over the last jha. This sign appeared already in the single speed mantra of hãtuti 1 (page 6). It means that the jha is played only if you repeat the mantra, as in your daily practice. If you go on to the next hãtuti, you have to skip the jha and immediately start with the new mantra after the last dhena.  For now, practice this mantra seperately for some days to become familiar with it. Later we will show how to play several hãtuti together. Also, continue with hãtuti 1 and HS 5 and 6.

More Hasta-Sãdhana
The following mantra is the “long version” of HS 4. Look there for the translation (page 9).

 HS 7

#ghene nere #ghena geda #ghene nere #ghena ghene #nere ghena #khene nere #khena kheta #khene nere #khena khene #nere khena
 Take care of proper balance. Read again the explanation to HS 5 (page 14). Try to manifest the rhythm in the same way as there. Then this mantra will become very powerful and help you to increase your feeling for the Mëdaùga.

How to practice

19

The Second Hãtuti
If you can play HS 7 nicely, the following hãtuti should be no problem. It has a very nice, dynamic melody.

 HA 2

#dere gere #dere gere #ghene nere #ghena now #tere kheta #ghene nere #ghena now #tere kheta #ghene nere #ghena ghene #nere ghena #ghene nere #ghena now #tere kheta #tikhi takhi #tere kheta
dere gere ghene nere ghena now (like dere ghena in HA 1e, page 10) (as in HS 7 above) Right 4 open (strong)

Translation

tere kheta (as usual) tikhi takhi tere kheta (as in HS 3, page 3) How to practice  Now you can apply to hãtuti what you have practiced in the hasta-sãdhanamantra before. Listen to the CD and try to make the Mëdaùga speak in the same way as you hear me playing there.  This month you don't get more mantras. Practice alternately HA 1 with decorations, HA 2, HS 5, 6, and 7. Find out which mantras give you most difficulties and practice accordingly. You also can take a part of a mantra and practice it separately if it is particularly difficult for you. In the next month we will start with the first kìrtana beats. Until then, your hand should be ready to play everything nicely what you have learnt so far. If not, better invest some more weeks before you go on.

Sixth Month
Practice Time
More Hasta-Sãdhana
Here is another mantra for training your mind and making your hand fast. It is played like HS 5. Look there for the translation (page 14).

 HS 8

#khete tete #kheta khete #tete kheta #tete kheta #khete tete #tete kheta #tete kheta #tete tete #kheta tete #tete kheta #tete kheta #tete tete #tete kheta #tete kheta

Hãtuti Number Three
This hãtuti shows you how to apply tere tere. It also trains you to change from single to double speed and back. The combination tere tere kheta ta khi tere kheta is very important for kìrtana. Practice with great care.

 HA 3

#dhereti dhe#reti dhere #da ghi tere tere #kheta takhi tere kheta #tereti te#reti tere #takhi tere tere #kheta takhi tere kheta #dad dhin tere tere #kheta takhi tere kheta #dad dhin dere geda #jha dad dhin #dere geda jha #dad dhin dere geda
dhe re ti da ghi Left open + Right 4 closed Right thumb Right 4 open Left open + Right 4 closed Left open (stronger than da)

Translation

tere tere kheta (as usual) ta Right 4 open khi Left closed tere ti dad dhin dere geda jha (as usual) Right 4 open

(as in HD 4, page 17) (like dere gere in HA 2, page 20) (as usual)

21

How to practice

 Take care of proper balance. The first half line (dhereti dhereti dhere da ghi) is in single speed, followed by the double speed sequence tere tere kheta takhi tere kheta. This is a very important practice. Take the help of a metronome if you have difficulties to change from single to double speed.  Practice this mantra for some days exclusively, then add it to your regular practice.

Ãrati Beat—Entrance into Kìrtana
This mantra is the basic beat for kìrtana. It can be played with maùgala ãrati, nësiõha ãrati, tulasì ãrati, guru-pújã, sandhyã ãrati and many different kinds of Hare Këòøa melodies. It is very popular in the Gauîìya Vaiòøava society because with this mantra, you play in daspahira tãla (8-mãtrã), the most common tãla for Vaiòøava songs.

 K1
Translation

#khik _khi #neda #gida #gida #dhei #ta uru #tete #ta
khik khi ne da gi da dhei ta uru tete ta Left closed Left closed (note that there is a short space before) Right 1 up (like jha) Left open (like jha) Left open + Right 4 open (strong) Right 4 open (as in HD 1, page 15) (like tere) Right 4 open

How to practice

 Note the timing of the second half: ta, uru, te, and te take half mãtrã each. Thus, you have to play uru accordingly fast. It is a triplet. Take care that all three strokes are clearly audible. In the beginning, you might tend to play uru too slowly, thus delaying the following tete. Then the rhythm will not manifest.  In this month, practice while speaking the mantra. In the next month we will explain how to sing to this mantra, while introducing the first tehãi (endings). Your main practice should still be hasta-sãdhana and hãtuti. Later, when we come to the more demanding kìrtana beats, you will be thankful for this endeavor.

Seventh Month
Practice Time
More Hasta-Sãdhana and Hãtuti
Practice the following two mantras for about one week exclusively, then add them to your daily repertoire.

 HS 9

#dere geda #ghene nere #ghena ghene #nere ghena #nere ghena #tere kheta #khene nere #khena khene #nere khena #nere khena
dere geda (as in HA 3, page 21. The da is played very strongly.) ghene nere ghena, khene nere khena (as in HS 4, page 9) tere kheta (as usual)  Meanwhile you should have understood the system:  ne after ghe/khe is played with thumb (like re).  na after ghe/khe is played with 4 fingers open (like ta).

Translation

How to practice

 HA 4

#ghene tere #ghene tak #tere kheta #ghene tere #kheta ghene #tere ghena ##tak tere #tere ghena #tere ghena #tere ghena
ghene tere ghene (like genere nere ghena) tak Right 4 closed (strong) tere kheta, ghene, ghena (as usual)  This mantra has a very special, attractive melody which is also used in kìrtana. Listen to the CD and try to manifest it. In order to do so, you have to come to double speed level.

Translation

How to practice

Tehãi—Endings for Kìrtana Beats
Now we introduce the first tehãi for kìrtana. When you sing Hare Këòøa while playing ãrati beat, you have to play tehãi at the end of each Hare Këòøa mantra. How this is done, we explain afterwards. The word tehãi comes from the Bengali word tina, “three”, because basically it is a system of dividing a beat into three parts. Why playing tehãi? You can compare the kìrtana to a nice prasãdam feast. The ãrati beat and the other speeds are like rice. Rice is very tasty, but the real taste comes from the various sabjì preparations. The different tehãi are thus compared to the sabjì of the feast. They make the kìrtana tasty and variegated. There are thousands of different tehãi, many of them are on a very high level. In this course you will learn twenty basic tehãi by which you add a lot of taste to the kìrtana.

23

 TEH 1

(kheta kheta/jha)§

or

#kheta kheta #jha kheta #kheta jha #kheta kheta #tere kheta #jha tere #kheta jha #tere kheta
or #kheta

 TEH 2

(tere kheta/jha)§

or

 TEH 3

(kheta guru gur/dhei)§ #dhei dhei

guru gur

kheta #guru gur #kheta guru gur
Translation kheta, tere, guru gur, jha (as usual) dhei (like jha)

How to practice

 Look at the rhythm. Since these tehãi take four mãtrã each, we can apply no mãtrã dashes to the abbreviated form, because they are shifted in each repetition..  Now, in TEH 3, you can see why guru gur is a double speed beat. You will find this beat in many tehãi and other kìrtana-mantras, and it is always in double speed. So continue to practice hãtuti 1 with great enthusiasm.  The note after the slash (here jha or dhei) bears the melody of the tehãi. You have to play it strongly (like the dhei in the ãrati beat K 1).  Practice these beats separately for about one week until you can play them swiftly, without having to concentrate on how to play—your mind should be free for the kìrtana. Look at the explanation to the tehãi of hãtuti 1 (page 12) how to play these beats continuously. Then, by following the explanation below, try to sing Hare Këòøa or some ãrati songs while playing the ãrati beat together with these tehãi. However, don't forget your daily practice of hasta-sãdhana and hãtuti!

How to Play the Basic Kìrtana Beat
Now we can play the ãrati beat together with tehãi. Let us examine the rhythm in detail:  On counting the mãtrã you see that each of the above tehãi takes one half of the ãrati beat (namely, four of eight mãtrã). Later, we will introduce longer tehãi, but now let us look at the basic system.  In order to sing one complete Hare Këòøa mahã-mantra, you have to play the ãrati beat four times: One on Hare Këòøa, one on Këòøa Këòøa, one on Hare Rãma, and one on Rãma Rãma. However, rather than starting with khik khi neda gida gida, you start at the middle of the mantra—on dhei—and continue from there. As we have already mentioned, the tãla does not necessarily start with the beginning of the mantra. In this case, the tãla starts in the middle of the ãrati beat, on dhei.  Thus, on Hare Këòøa you start with dhei da uru tete ta—i.e. one half ãrati beat— then you play three complete ãrati beats and then—on the last Hare Hare—you add one of the above tehãi. Thus, you have completed four full ãrati beats, because the tehãi occupies the remaining half beat.  Continue with the next mahã-mantra without space, by playing dhei da uru tete ta

immediately after the tehãi. This is the basic system of all kìrtana. In terms of the notation of the tehãi, (kheta kheta/jha)§ means you play three times kheta kheta jha, but instead of the last jha you go back to the dhei of the next ãrati beat. As an example, let us take the first tehãi, sung in the standard melody of the maùgalaãrati:

#dhei '
Ha-

'

#ta 'uru #te 'te #ta
re Këòøa

#khik '_khi 'te #ta '
Hare

#ne 'da #gi 'da #gi 'da #dhei
Këòøa Këòøa

'
Kë-

#ta 'uru #te
òøa

#khik '_khi 'te #ta '
Hare Ha-

#ne 'da #gi 'da #gi 'da #dhei
re Hare

'
Rã-

#ta 'uru #te
ma

#khik '_khi 'te #ta '
Hare

#ne 'da #gi 'da #gi 'da #dhei
Rãma Rãma

'
Rã-

#ta 'uru #te
ma

#kheta 'kheta #dhei '
Hare Ha-

#jha 'kheta #kheta 'jha #kheta 'kheta #ta 'uru #te 'te #ta '
re Hare Këòøa . . .

The Second Speed
As explained in the section about playing kìrtana (page xxx), there are twenty different speeds which gradually increase tempo and dynamic of the kìrtana. The ãrati beat is the first speed. (Therefore we numbered it with K 1.) It is played rather slowly. When the kìrtana gets faster, you have to switch to the next speed, namely:

 K2
Translation

#da ghi #tete #take #dhena
da ghi te te ta ke dhe na (like jha) Left open (stronger than da) Right 1 open Left closed + Right 3 closed Left open (like jha) Right 4 open (not strong) (left hand strong sound) Right 4 open

How to practice

 The dhe bears the melody of this beat. It has to be played stronger than the other open sounds (like dhei in the ãrati beat). Listen to the CD.  The system how to apply this beat in kìrtana is the same as above, but note that this beat is only half as long as the ãrati beat. That means, you have to play seven times second speed and one tehãi in order to complete one Hare Këòøa mahã-mantra.  Practice first seperately, while speaking the mantra, then apply in kìrtana together with the tehãi you have learnt.

Eighth Month
Practice Time
More Hãtuti
Hãtuti 5 trains you to change from single to double speed. This is very important for combining the second and third speed. Hãtuti 6 reveals a very beautiful melody as soon as you come to double speed. Listen to the CD and try to make the Mëdaùga speak.

 HA 5

{#khi guru gur #dad dhin (#tete tete #kheta tak)§}§ (Double speed) (#dere dere ghena nak #tere tere kheta tak)§ (Tehãi) (#dere dere ghena nak #tere tere kheta tak/#jha)§
(Single speed)
khi guru gur dad dhin tete tete khe ta tak dere ghe na nak Left closed (as usual) (as in HA 3, page 21) (like tere tere) Left closed Right 3 open Right 1 up (strong sound) (as in HA 3) Left open (stronger than both de in dere) Right 3 open (like tak above)

Translation

tere tere kheta tak (like tete tete kheta tak above, but double speed) jha (as usual) How to practice  As in HD 3 (page 16), two repetitions are interlocked. Look there for an explanation.  Try to play the tak/nak very strong, with clear stroke and high pitch. Later, when starting with bhajana-mantras, you will derive great benefit from this hãtuti. Also, play the jha strongly, since it is the last note of the tehãi.  Start to practice very slowly, in order to manifest the double speed properly. Then increase gradually. In the end, you should be able to play the first part in normal kìrtana speed. Then the second part will be in real double speed. Listen to the CD.

26

 HA 6

#dad dhin #dere geda #dad dhin #dere geda #dad dhin #tere tere #kheta takhi #tere kheta #dere geda #dere geda #jhete nete #geda jhete #nete geda #jha_ #tete nete #nete kheta #khete nete #nete kheta #dere geda #dere geda
dad dhin dere geda, tere tere kheta takhi tere kheta (as in HA 3, page 21) jhe te nete geda (like ghene nere ghena) jha (as usual—note the space thereafter) tete nete nete kheta (like tete tete tete kheta) khete nete nete kheta (like khete tete tete kheta)

Translation

The next mantra introduces the technique of playing with one and three fingers continuously. Carefully study the explanation in the technical section (page xxx) before you start. This hãtuti prepares your hand for the third speed and for later tehãi.

 HA 7

#dhere tete #dhere tete #dhat dhat #dhere tete #dhere tete #dhere tete #dhat dhat #dhere tete #dhat dhere #tete dhat #dhere tete #dhere tete (#kheta kheta #gade ghine #tere kheta #gade ghine/#jha)§
dhe re te te dhat stronger) Left open + Right 1 closed Right 3 closed Right 1 closed Right 3 closed Left open + Right 4 closed (the second dhat is slightly (like in TEH 5, page 28)

Translation

kheta kheta gade ghine~ How to practice

 Look at the rhythm of the tehãi of this hãtuti: The jha takes only one fourth of the part before, instead of one half as by usual tehãi. Thus, this tehãi takes 14 mãtrã instead of 16. It is a different tãla.  Take care that you play the closed beats clearly closed. Listen to the CD and try to manifest the same high and distinct sound. Practice very slowly in the beginning. You should invest a lot of time in this hãtuti since it gives you the basic technique required for many kìrtana and bhajana beats.

More Tehãi
Tehãi 4, being as long as the first three, is applied in the same way. The sequence ta klanta is a very powerful instrument in kìrtana. Listen to the CD how it sounds properly.

 TEH 4

(ta klanta/jha)§

or

#ta klanta #jha ta #klanta jha #ta klanta

Translation

ta klan ta jha

Right 4 open Both hands 4 open on the small head—strong sound (See page xxx for a detailed explanation of this stroke.) Right 4 open (as usual)

The next two tehãi are twice as long as those above, or as long as one ãrati beat. They are played from Rãma Rãma, as shown thereafter.

 TEH 5  TEH 6
Translation

(#tere kheta #gade ghine/#dheiya)§ (#da da #gade ghine/#jha guru gur)§
tere kheta ga de ghi ne dhei ya (as usual) Left open Right 4 closed (very strong sound—this note bears the melody) Left open Right 4 open (like jha) Right 4 open

da da Left open + Right 4 closed (2 times) gade ghine (as above) jha guru gur (as usual) How to practice  Count the rhythm. The first two repetitions take three mãtrã each and the last one two mãtrã, thus eight mãtrã altogether.  First, practice these mantras separately until you are familiar with them. Then try to play them together with ãrati beat, while singing Hare Këòøa. Follow the advice below and listen to the CD.

How to Play Tehãi with the Same Length as the Ãrati Beat
Since the Hare Këòøa mahã-mantra takes four ãrati beats altogether, you have to start with such tehãi after having played three ãrati beats—more exactly, after having played one half beat plus two and a half, since you begin in the middle of the beat. Therefore, you start with tehãi after the third khik khi neda gida gida. Look at the following example (using again the standard melody of maùgala-ãrati):

#dhei '
Ha-

'

#ta 'uru #te 'te #ta
re Këòøa

#khik '_khi 'te Ä#ta
Hare

#ne 'da #gi 'da #gi 'da #dhei '
Këòøa Këòøa

'
Kë-

#ta 'uru #te
òøa

#khik '_khi 'te #ta '
Hare Ha-

#ne 'da #gi 'da #gi 'da #dhei
re Hare

'
Rã-

#ta 'uru #te
ma

#khik '_khi #ne 'da #gi 'da #gi 'da #tere 'ghine #dhei 'ya #tere 'kheta
Hare Rãma Rãma

'kheta
Rã-

#gade
ma

#gade 'ghine #dhei '
Hare Ha-

#dhei 'ya #tere 'kheta #ta 'uru #te 'te #ta '
re Ha-

#gade
re Kë-

'ghine
òøa . . .

The Third Speed
When the kìrtana gets more fired-up, you have to play double speed. This is the third speed. The mantra sounds like that of the second speed, but it is played in a different way. And, being twice as fast, it takes only two mãtrã dashes instead of four.

 K3
Translation

#da ghi tete #take dhena
da ghi te te ta ke dhe na Left open + Right 1 open Left open (stronger) Right 3 closed Left closed + Right 1 open Right 1 open Left open (not strong) Left open + Right 3 closed (left hand strong) Right 1 open

How to practice

 Like in the second speed, the dhe bears the rhythm. It is the strongest stroke in the mantra. Also, the ghi has to be stronger than the da. Many devotees don't play the ghi at all and thus garble the beautiful melody of this beat.  Your right hand plays continuously 3–1–1–(space), with three fingers closed and 1 finger open sound. You have to manifest this sequence clearly. Then the beat becomes very dynamic. Look in the technical part (page xxx) and listen to the CD to get the special “drive” of this beat.  Count the mãtrã: The third speed fits four times in one ãrati beat. Thus, in order to complete one Hare Këòøa mahã-mantra, you have to play 14 times third speed and one short tehãi.  The third speed is one of the most demanding kìrtana beats. You will need long time to manifest it properly. In this month, practice it seperately by playing continuously. Start slowly (in the tempo of the second speed), then gradually increase. Again: Don't forget your daily practice of hasta-sãdhana and hãtuti! Especially hãtuti 1 will give you the power to manifest the third speed.

Ninth Month
Practice Time
More Hãtuti and Tehãi
In this month, you should mainly concentrate on learning the third speed and practicing the new tehãi—some of them are twice as long as the ãrati beat. The following two hãtuti prepare you for these tehãi. Hãtuti 7 is a longer version of HA 3 (page 21). See there for the translation.

 HA 8

#dhereti dhe#reti dhere#ti dhereti #dhere dhere #da ghi tere tere #kheta takhi tere kheta #tereti te#reti tere#ti tereti #tere tere #ta khi tere tere #kheta takhi tere kheta #dad dhin tere tere #kheta takhi tere kheta #dad dhin dere geda #jha dad dhin #dere geda jha #dad dhin dere geda #kot tete geghe tete #kota kota geghe tete #kot tete geghe tete #kota kota geghe tete #kota geghe tete kota #geghe tete geghe tete #geghe tete geghe tete (#dha klan ta #tete kota gade ghine/#jha)§
kot te te ge ghe ko ta Left closed Right 3 closed Right 1 closed Left open (not strong) Left open (strong) Left closed Right 4 open

The next hãtuti prepares your hand for tehãi number 10.

 HA 9

Translation

dha (like jha) klan ta (as in TEH 4, page 28) tete kota gade ghine (like tere kheta gade ghine in TEH 5, page 28) jha (as usual) How to practice  Take care of proper balance, especially that kota kota appears in proper sequence.  Practice these two mantras for about one week. Try to come to double speed level.

30

Tehãi 7 and 8 have the length of one full ãrati beat. Thus, play them like TEH 5 and 6, starting from Rãma Rãma.

 TEH 7  TEH 8
Translation

(#kheta tak #gade ghine/#dheiya)§ (#jhete tete #geghe tete/#jha kot)§
kheta tak gade ghine dheiya jhe te te te geghe tete jha kot (as usual) Right 4 closed (strong) (as in TEH 5, page 28) Left open + Right 3 closed Right 1 closed Right 3 closed Right 1 closed (as in HA 8 above) (as before) (as usual) Left closed (strong sound)

How to practice

 The last kot has to be played very boldly. Take care that the hand rests on the drumhead for one moment to properly deafen the sound.  As before, practice these tehãi separately first, while speaking the mantra. When you have become familiar with them, try to apply them by singing Hare Këòøa and playing ãrati beat. Also, practice hãtuti 1 and HS 5 and 6.

The next two tehãi have double length of the ãrati beat. Practice them separately first, while speaking the mantra. Afterwards you will learn how to apply them in kìrtana.

 TEH 9

#tete tete #kheta ta #ti now na #kheta ta #dhow kheta #dhara kheta #dharta dh#arta dhar (#da guru gur dh#in ta dhin/#jha)§
tete tete kheta ta ti now na kheta ta dhow kheta dha ra dhar ta da guru gur dhin ta jha (as in TEH 8 above) (as usual) Right 4 open Right 3 closed Right 1 open (double length of ti) Right 1 open (as before) (like jha) (as usual) (like jha) Right 4 open (like jha) Right 4 open (as usual) (like jha—strong) Right 4 open (as usual)

Translation

How to practice

 This mantra has a special rhythm. If you divide one mãtrã into four parts, it appears as follows:

#dhar ' 'ta 'dhar # 'ta 'dhar ' #da 'guru 'gur 'dhin # 'ta 'dhin

'

#jha
The sequence da guru gur dhin ta din jha is very important. It appears in numerous tehãi. Carefully listen to the CD to grasp the beat. Before playing, speak the mantra while clapping the mãtrã with the hands. This helps you to get a feeling for the beat.

The next tehãi needs no translation. The first double line you just learnt in hãtuti 7 and the end is identical with TEH 5. It is a very important beat. Later, you will learn how to play it in double speed.

 TEH 10

#kot tete #geghe tete #kota kota #geghe tete #kot tete #geghe tete #kota kota #geghe tete (#tere kheta #gade ghine/#dheiya)§

How to Play Tehãi with Double Length of Ãrati Beat
Here, you have to start with the tehãi from Hare Rãma, after having played one half beat plus one and a half—in other words, after the second khik khi neda gida gida. Look at the following example (again the standard melody of maùgala-ãrati):

#dhei ' #khik '_khi 'te #ta '
Hare Ha-

'

#ta 'uru #te 'te #ta
re Këòøa

#ne 'da #gi 'da #gi 'da #dhei
Këòøa Këòøa

'
Kë-

#ta 'uru #te
òøa

#khik '_khi #ne 'da #gi 'da #gi 'da #kot 'tete #kota 'kota #geghe 'tete
Hare Hare Ha-

'tete
Rã-

#geghe
ma

re

##kot 'tete #geghe 'tete #kota 'kota #geghe 'tete #tere 'kheta #gade 'ghine #dhei 'ya #tere 'kheta
Hare Rãma Rãma Rãma

#gade 'ghine #dhei '
Hare

Ha-

#dhei 'ya #tere 'kheta #ta 'uru #te 'te #ta '
re Ha-

#gade
re . . .

'ghine

Decoration Mantras for Second and Third Speed
Usually, the second and third speed are played together. You can play, for example, Hare Këòøa in second speed and Hare Rãma in third speed, or you play second speed on the singer's part (one full mahã-mantra) and enter the third speed when the audience replies. As with the ãrati beat, you have to play tehãi at the end of each Hare Këòøa mahã-mantra or at the end of each line of the song if you sing ãrati. How this is done will be described in detail in the next month's lesson. However, between second and third speed you cannot play tehãi. Else you would break the dynamic of the rhythm, because tehãi means “end of one line”. Here, we need other mantras which are called dvãra, the Bengali word for “gate”. These mantras are the gate from single to souble speed. The most common dvãra are:

 D1  D2  D3  D4  D5  D6
Translation

#take ta#ke tak #tak tak #tak tak #take ta#ke tak #tak tak #tak tak #tak tak ta#k ta tak #take ta#ke tak #tak tak ta#k ta tak #dhin ta#ke dhin #take ta#ke tak #dhin tak#_ tak#_ tak#_ tak #take ta#ke #tak #tak tak ta#k ta tak
ta, tak ke dhin Left closed + Right 4 open Right 4 open (like jha)

How to practice

 These mantras have their special “drive”. They are composed of five differemt elements. Look at the following scheme (again dividing each mãtrã into 4 parts):  First half of D 2:  Second half of D 2:  Second half of D 3:

#tak ' 'tak ' #tak ' 'tak ' #ta ' 'ke 'ta # 'ke 'tak ' #tak 'tak ' 'tak # 'ta 'tak ' #dhin ' 'ta #ke 'dhin '

Dhin take dhin is a triplet beat. Since dhin is twice as long as ta and ke, you have to play as follows (by dividing each mãtrã into 3 parts):  First half of D 5:

For showing the last dvãra, we divide each mãtrã into 2 parts:  First half of D 6:

#dhin 'tak 'tak

#_ 'tak

#_ 'tak #_

You will have to listen to the CD to get the proper beat. Again, if you don't like these technical explanations, then just try to get the beat from listening. Still it is better to understand the mãtrã properly. Speak these mantras frequently while listening to the CD, until you grasp the rhythm. Then play them separately and continuously, until you are familiar with them. Now read the explanation below and try to apply these mantras in kìrtana, first while speaking them, then while singing Hare Këòøa.

How to Enter Third Speed from Second Speed
Here is one example (again using the standard melody of maùgala-ãrati), with second speed on Hare Këòøa and third Speed on Hare Rãma. Between both, we play D 2. At the end we use a short tehãi and go back to the second speed:

#da 'ghi #te 'te #ta 'ke #dhe 'na
Hare Këòøa

##da 'ghi #te 'te #ta 'ke #dhe 'ke #dhe 'na
Hare Këòøa

'na ##da
Këòøa

'ghi #te 'te #ta
Këòøa

#tak 'tak #tak #take 'dhena
Hare Hare

'tak #ta 'ke ta #daghi 'tete 'dhena #take
ma

# ke #take
Ha-

'tak #daghi 'tete 'dhena
re Rãma

#daghi 'tete ##daghi 'dhena
Hare

#take 'tete
Rã-

#daghi 'tete #take 'dhena #daghi 'tete
Rãma Rã-

'dhena #take
ma

#tere 'kheta #jha 'tere #kheta 'jha #tere #da 'ghi #te 'te #ta 'ke #dhe 'na
Hare Hare Hare . . .

'kheta

The other dvãra are played as follows: D 3, D 4 and D 5 follow the above scheme (like D 2). D1 is the last half of D2. Thus, you have to play the first half of second speed and then D 1. In other words, instead of tak tak tak tak take take tak, you play da ghi tete take take tak.  Since D6 is twice as long as the other mantras, you have to start one beat before, on Këòøa Këòøa—instead of the third da ghi tete take dhena, you start with dhin tak~.

Some Special Kìrtana Beats
When the kìrtana comes to the end—when you sing, “Jaya Gaura-Nitãi”, “Jaya Prabhupãda”, and so on—you need some special mantras. The most common ones are as follows:

 X1
Translation

#dhei da dhei #ta kheta kheta
dhei da dhei ta kheta Left open + Right 4 open (strong sound) (like dhei, but less strong) (as above) Right 4 open (as usual)

How to practice

 Note that the two kheta are played differently: As illustrated below, ta kheta has three beats on one half mãtrã, played as triplet, whereas in the last kheta there are only two beats on one half mãtrã. Thus, it is slower than the first one. Listen to the CD to get the rhythm.

#dhei

'da dhei

#ta kheta 'kheta

 X2
Translation

#dheiya ta kheta #tak dhena kheta
dheiya ta kheta tak dhe na kheta (as in TEH 5, page 28) (as in X 1 above) Right 4 closed (strong sound—this note bears the melody) (like jha) Right 4 open (as usual)

How to practice

 This is a triplet beat, as illustrated below:

#dhei ' 'dhe 'na

'ya 'ta 'khe 'ta

'khe 'ta #tak '

You have to play this beat with very constant rhythm in order to manifest it properly. Play the tak very strongly and clearly closed, with high pitch.  Practice these two beats separately first until you become familiar with them, then try to sing while playing them. Listen to the CD to get the beat.

Tenth Month
Practice Time
More Hasta-Sãdhana
This mantra prepares your hand for an important technique which will later find its way in many hãtuti and tehãi.

 HS 10

#ghene ne ghene ne #ghene nere ghena #nere ghena ghena #tak tere kheta #khene ne khene ne #khene nere khena #nere khena khena #tak tere kheta
ghene ne, ghene nere ghena, khene ne, khene nere knena (as in HS 4, page 9) tak Right 4 closed (strong) tere kheta (as usual)  The combinations ghene ne ghene ne and khene ne khene ne are important. They will appear in many different hãtuti and kìrtana beats. You might need some time to learn this technique in the beginning. Carefully practice by consciously applying the “swinging technique”. Study the explanation in the chapter about the basic beats (page xxx).

Translation

How to practice

More Hãtuti
Here are three additional hãtuti for your daily practice. Especially HA 10 is very beneficial for your hand. It applies the new technique you have just learnt.

 HA 10

(#ghene nere ghena)§ #tak tere kheta (#khene nere khena)§ #tak tere kheta #ghene nere ghena #ghene nere ghena #ghene ne ghene ne #tete te ghene ne #tete ghene tete #ghene tete ghene #ghene nere ghena #tak tere kheta #khene nere khena #khene nere khena #khene ne khene ne #tete te khene ne #tete khene tete #khene tete khene #khene nere khena #tak tere kheta
ghene nere ghena, khene nere khena, tak, tere kheta tete te (as in HS 10 above) (like tereti in HA 3, page 21)

Translation

How to practice

 Now you will see the value of the above hasta-sãdhana HS 10. As in other

36

mantras, you can practice the difficult parts separately. Play, for instance, for one hour: ghene ne ghene ne tete te ghene netete ghene tete ghene tete ghene khene ne khene ne tete te khene ne tete khene tete khene tete khene Then, for the second hour, play the complete hãtuti.

 HA 11

(#nin ta khi #tere kheta)§ #khene nere #khena now #tak tere #kheta khene #nere khena (#nin da ghi #dere ghena)§ #ghene nere #ghena now #dag dere #ghena ghene #nere ghena
nin ta khi tere kheta khene nere khena now tak nin da ghi dere ghena ghene nere ghena now dag Right 1 up Right 4 open Left closed (as usual) (as usual) Right 4 open Right 4 closed (strong sound, as usual) (as above) (as usual) (like dere gere in HA 2, page 20) (as usual) (as above) Left open + Right 4 closed (strong, like tak above)

Translation

The following mantra has a very nice, rhythmic melody:

 HA 12

#gheneta ghe#neta khete#ta gheneta #teteta te#teta khete#ta teteta #kheta ghena #kheta ta guru #gur da ghina (#teteta ta #kheta tak #dhena kheta/#jha _guru gur)§
gheneta kheteta teteta kheta ghe ta ta guru gur da ghina te te ta ta kheta tak (like ghene ne in HA 9 above) (like khene ne in HA 9) (like tete te in HA 9) (as usual) Left open Right 4 open Right 4 open (as usual) (like ghena) Right 3 closed Right 1 closed Right 4 open (2 times) (as usual) Right 4 closed (strong)

Translation

dhe na kheta jha guru gur How to practice

Left open + Right 4 open Right 4 open (as usual) (as usual)

 As long as you play slowly, leave a long space after the jha and play the guru gur thereafter as fast as possible. Listen to the CD to hear the proper rhythm.

How to Play Different Hãtuti Together
Until now, you practiced each hãtuti seperately for (hopefully) one hour at least. Now you can start to play several hãtuti together. Precondition is that you know the mantras sufficiently—which means, you have to play them nicely in double speed. The system is easy:  Usually you start with tehãi 1, including all the decorations as you have learnt before.  After you have played tehãi 1 three or four times, thereby gradually increasing the speed, play the common mantra D 0 in single speed. That means, after the hãtuti you get slow again. Then go to any other hãtuti without space.  As before, play that hãtuti several times, as you like, gradually increasing the speed until double speed (if you are really good, you play once in single speed and two times in double speed), then return to D 0 and after that take the next hãtuti. In this way continue for one hour without interruption.

More Tehãi
Tehãi 12 is a variation of tehãi 11. Practice them together. Since both have double length of the ãrati beat, they start at Hare Rãma, like TEH 10.

 TEH 11

#kot tete #geghe tete #kota geghe #neta kheta #ta_ #klanta #tete kota #gade ghine (#khi guru gur #da da/#jha)§ #kot tete #geghe tete #kota geghe #neta kheta #ta_ #klanta #tete kota #gade ghine #khi guru gur #da da #jha_ #tete tete #trikhi tak #jha trikhi #tak jha #trikhi tak
kot tete geghe tete, kota geghe ne ta kheta (as in TEH 10, page 32) Right 1 open Right 3 open (as usual)

 TEH 12

Translation

ta klanta (as in TEH 4, page 28—but note the space after ta) tete kota gade ghine (like tere kheta gade ghine in TEH 5, page 28)

khi guru gur da da jha tete tri khi tak jha How to practice

Left closed (strong) (as usual) (like jha—2 times) (as usual—stronger than da da) (as above) (like tere, but fast, on one beat) Left closed + Right 4 open (different than usual khi!) Right 4 closed (very strong) (as usual)

 The combination tri—which is played as one beat—is a new technique. It is very important for bhajana, so practice trikhi tak jha separately if you have problems with it. You also can play (trikhi tak/jha)§as seperate tehãi from Hare Hare.  As before, practice these tehãi separately first, then add them to your kìrtana repertoire, by singing with them.

Mantras for Ending the Kìrtana
After singing “Jaya Prabhupãda” and “Jaya Gaura-Nitãi” etc., the kìrtana normally ends or comes to a break. Then you change from dheiya ta kheta tak dhena kheta to the following mantra:

 X3
Translation

#dhei tat da #ta khi tat da #ta khi tat da #gida gida
dhei tat da ta khi gi da (like jha) Right 4 closed Left hand with palm + Right 4 open Right 4 open Left closed Left open Left open + Right 4 open

How to practice

 The da is a new stroke. Look at the explanation in the technical part (page xxx). Play it quite strongly since it bears the melody.  Take care that you play the four left-hand strokes of gida gida with constant rhythm and strength. Listen to the CD.  First, practice this mantra and the next one separately. Afterwards, you will learn how to apply them in kìrtana.

The next mantra is for the final end:

 X4
Translation

#jha_ #dheita dh#eita dhei guru gur #da da da/*#khi
jha dhei ta guru gur da da da khi (as usual) (like jha, but strong) Right 4 open (as usual) (like jha 3 times—not strong) Left closed

How to practice

 Note that the khi is soma (see page 6). Thus, if you stop the kìrtana completely, you play khi. Sometimes, however, you might start again, according to the mood of the singer. Then you have to skip the khi and play the next mantra (like dhei ta uru tete ta) immediately after the da da da. Hence, one mãtrã is omitted. You will see an example hereafter.

 After the jha, you should slow down gradually. This is the standard way how to end a kìrtana.

How to End the Kìrtana
When the singer starts with “Jaya Prabhupãda”, “Jaya Gaura-Nitãi”, or whatsoever, you play X 1 and X 2 as you have learnt before. Then change to dhei tat da ta khi tat da ta khi tat da gida gida. Normally, the kìrtana will stop soon. However, sometimes the leader gets the inspiration to sing “Jaya Prabhupãda” etc. for longer time. Then, you can go back to dheiya ta kheta tak dhena kheta and change between the last two beats. If the singer goes even back to Hare Këòøa, play again second and third speed, as usually. But you have to know when the kìrtana leader wants to end. Arrange some signs. Then you should play dhei tat da ta khi tat da~. When the audience sings the last line of the kìrtana, instead of playing gida gida, go immediately to jha dheita dheita dhei guru gur da da da khi. This looks as follows:
Jaya

###dhei 'dhei
Prabhu-

' 'da 'dhei #ta 'khe 'ta 'khe 'ta ##dhei ' #ta 'khe 'ta ''khe 'ta
pãda Jaya Prabhupãda Ja-

'da
ya

##dhei ' 'dhei
Prabhu-

'da 'dhei #ta 'khe 'ta 'khe 'ta ##dhei #ta 'khe 'ta ''khe 'ta
pãda Jaya Prabhupãda

'

'da
Prabhu-

#dhei' 'ya'ta 'khe 'ta #tak ' 'khe 'ta #tak ' 'dhe 'na
pãda Pra-

'dhe 'na 'khe 'ta
bhu pã-

'khe 'ta #dhei'
da

'ya'ta
Prabhu-

##dhei' 'ya'ta 'khe 'ta #tak ' 'khe 'ta #tak ' 'dhe 'na
pãda Jaya Jaya Pra-

'dhe 'na 'khe 'ta
bhu pãda

'khe 'ta #dhei'
Jaya Jaya

'ya'ta
Prabhu-

#dhei ' 'da
pã-

'tat 'da #ta 'khi 'tat 'da #ta 'khi 'tat 'da #gi 'da 'gi
da Prabhu pãda Prabhu-

#dhei ' 'da
pãda Ja-

'tat 'da #ta 'khi 'tat 'da #ta 'khi 'tat 'da #gi 'da 'gi
ya Jaya Prabhu pãda Jaya Jaya Prabhu-

#dhei '
pã-

' '

'tat 'da #ta 'khi 'tat 'da #ta 'khi 'tat 'da #jha
da Prabhu pãda Pra-

'
bhu-

#dhei ' #khi
pãda Ja-

'ta 'dhei
ya Jaya

#
Pra-

'ta 'dhei   'guru gur #da 'da 'da
bhu pãda.

As said before, in the last line you should gradually slow down the kìrtana because you come to the end. If, however, the kìrtana continues after the last “Prabhupãda”, for example by singing again “Hare Këòøa” slowly, playing ãrati beat, you have to continue without space. In that case, the last jha is skipped, becaue it is soma, and instead you have to play dhei immediately, the first note of the ãrati beat. Consequently, the beat starts one mãtrã earlier—instead of the last “da” of “Prabhupãda” the singer has to start already with “Hare Këòøa”. Else, there would be one mãtrã space and the drive would be lost. Look at

the following scheme:
Prabhu-

#dhei '
pã-

' '

'tat 'da #ta 'khi 'tat 'da #ta 'khi 'tat 'da #jha
da Prabhu pãda Pra-

'
bhu-

#dhei ' 'da
pãda Ja-

'ta 
ya Ja-

'dhei
ya Pra-

#
bhu

'ta
pã-

'dhei   'guru gur
da.

#da 'da

#dhei ' #ta 'uru #te 'te #ta ' 'da #gi 'da
Hare Këòøa Ha-

#khik
re

'_khi
Kë-

#ne 'da #gi
òøa

The same happens if you continue with the third speed, as will be shown later in the Tulasì-pújã.

The Fourth Speed
This beat makes the kìrtana very fired up and intense. It is played together with the second and third speed. Together, they form a unit. Practice separately until you can play it as fast as the third speed, then see how it is applied.

 K4
Translation

#dhena gighi #tat dhei ta #thena gighi #tat dhei ta
dhe na gighi tat dhei ta the Left open + Right 3 closed Right 1 open (like geghe in TEH 10, page 32) Right 3 closed Left open + Right 1 open Right 1 open Left closed + Right 3 closed (Rest as before)

How to practice

 Look at the rhythm. As you see, this beat is twice as long as the third speed. The dhei is twice as long as the tat and the ta. Thus, the sequence “3 closed —1 open—1 open” on the right hand is played differently than in the third speed. There is a space between the first “1 open” and the second one. By this, the beat becomes syncopic and obtains its special “swinging” character.  Also note that the ghi is stronger than the gi, but that the first note (dhe) is the strongest in the mantra—it bears the melody. You have to play very exactly and boldly in order to manifest this rhythm properly.

How to Play the Different Speeds Together
There are many varieties how to combine the first four speeds. How often you change between them depends on your inspiration and on the mood of the kìrtana. However, there is a standard system you have to follow in order to provide the proper flow of the melody: 1. The Basic Principle  If you sing a song—like gaura-ãrati—the system is as follows: When the singer sings the first line (kibã jaya jaya gaura-candera ãratika-åobhã), you play first speed and tehãi when the audience responds. You can use tehãi which have half, single or double length of the ãrati beat. If the first line is repeated, you play in the same way,

but you should use another tehãi. When the singer sings the second line (jãhnavì-taóa-vane jaga-mano-lobha), you play second speed. On the audience's part, you enter third speed. If the line is repeated, you play the same again or you stay in third speed, depending on the mood of the kìrtana. With the next stanza, you go back to the first speed, and so on. When the song gets more fired-up, you can add the fourth speed. For example, when the singer repeats the second line, you stay in third speed and go to fourth speed with the audience. When it becomes very intense, you can skip the second speed and immediately enter third speed when the singer starts with the second line. Thus, you have the following possible combinations: First Line – Singer: – Audience: – Singer: – Audience: Second Line Singer: 2. Speed – Audience: Speed – Singer: Speed – Audience: Speed 1. 1. 1. 1. – Speed Speed with Tehãi Speed Speed with Tehãi 2. Speed 3. 3. Speed 2. 3. Speed 3. 3. Speed

2. Speed 3. Speed 3. Speed 4. Speed

3. Speed 3. Speed 3. Speed 4. Speed

3. 4. 3. 4.

Speed Speed Speed Speed

How to use tehãi and dvãra (decoration) with second, third and fourth speed will be explained further below.  If you sing the Hare Këòøa mahã-mantra, you play first speed continuously as long as the kìrtana is soft and slow. Apply all the tehãi you have learnt, according to the mood of the kìrtana. Once you have entered the second speed you should not go back to the first speed. Rather, change between second, third and fourth speed—as explained below —until the kìrtana comes to a break. Then only, as you start slowly again, can you go back to the first speed.  There are tehãi in four different kinds of length. You can use those which are:  half as long as the ãrati beat (starting on Hare Hare) with 1., 2., 3., and 4 Speed,  one time as long as the ãrati beat (starting on Rãma Rãma) with 1., 2., and 3. Speed,  twice as long as the ãrati beat (starting on Hare Rãma) with 1. and 2. Speed, and  four times as long as the ãrati beat (starting on Hare Këòøa) with 1. Speed only. The last kind of tehãi we did not introduce yet. They cover the whole Hare Këòøa mahã-mantra. 2. Entering a Higher Speed  From first speed (ãrati beat) you go to the second speed after having finished one full Hare Këòøa mahã-mantra with tehãi. However, you can enter third speed from second speed or fourth speed from third speed either at the beginning of the mahãmantra (on Hare Këòøa) or in the middle (on Hare Rãma).  From second speed you enter third speed by playing dvãra (decoration), as shown in the last section.  In some cases you jump directly from first speed to third speed. One example is the Tulasì pújã, as shown in the next month's chapter. In this case you first have to finish the first speed with tehãi and then play dvãra immediately after the tehãi, in the same way as when you come from the second speed. Dvãra is the “gate” to the third speed—whenever you change to third speed you have to play dvãra before. In other

words, after having played tehãi at the end of one mahã-mantra, you begin the next mahã-mantra with dvãra and then play third speed. For example: (on Hare Rãma) dhei ta uru tete ta khik khi neda gida gida (on Rãma Rãma) dhei ta uru tete ta (on Hare Hare) tere kheta jha tere kheta jha tere kheta (on Hare Këòøa) tak tak tak tak take take tak daghi tete take dhena daghi tete take dhena~  You cannot jump from second speed to fourth speed. Rather, you have to go through the third speed.  Between third and fourth speed, you play neither tehãi nor dvãra. Rather, you shift from third speed to fourth speed without space: (on Hare Rãma) daghi tete take dhena daghi tete take dhena daghi tete take dhena daghi tete take dhena (on Rãma Rãma) daghi tete take dhena daghi tete take dhena (on Hare Hare) daghi tete take dhena daghi tete take dhena (on Hare Këòøa) dhene gighi tat dhei ta thene gighi tat dhei ta~ 3. Playing One Speed Continuously  As long as you stay in the first speed (ãrati beat), play tehãi at the end of each mahã-mantra. The same applies to the second speed, with the only difference that you cannot use long tehãi starting on Hare Këòøa, as shown in the list above.  If you stay in the third speed continuously, play dvãra at the end of the mahãmantra and again third speed. For example: (on Hare Rãma) daghi tete take dhena daghi tete take dhena daghi tete take dhena daghi tete take dhena (on Rãma Rãma) daghi tete take dhena daghi tete take dhena (on Hare Hare) tak tak tak tak take take tak (on Hare Këòøa) daghi tete take dhena daghi tete take dhena~ If the kìrtana gets very dynamic, you can play both tehãi (at the end of one mahãmantra) and dvãra immediately afterwards (starting with the next mahã-mantra). As explained before, you can use the first two kinds of tehãi (starting on Rãma Rãma or on Hare Hare). For example: (on Hare Rãma) daghi tete take dhena daghi tete take dhena daghi tete take dhena daghi tete take dhena (on Rãma Rãma) tere kheta gade ghine dheiya tere kheta (on Hare Hare) gade ghine dheiya tere kheta gade ghine (on Hare Këòøa) tak tak tak tak take take tak daghi tete take dhena daghi tete take dhena~  Normally, you don't play fourth speed longer than one mahã-mantra—it is too intense. The standard is that you play third speed on the singer's part and fourth speed when the audience is responding. Then you return to a lower speed. Only if the kìrtana is very fired up and continues for long time on the level of third and fourth speed, you can play fourth speed for more than one mahã-mantra. In that case, you play neither dvãra nor tehãi, just continue with fourth speed. As soon as you play tehãi after fourth speed, you have to go back to a lower speed. This is a hard rule. Consequently, you cannot play fourth speed continuously when singing a song. (like in the above example of the gaura-ãrati). Here, you can play fourth speed only on the audience's part, because you have to end each line of the song with tehãi. 4. Going Back to a Lower Speed  You can go back to a lower speed only at the end of the Hare Këòøa mahã-mantra, not in the middle. Also, you never should play the singer's part in a higher speed than the audience's response. That would greatly disrupt the natural flow of the

kìrtana. Go back after the audience's part If you sing a song, you can go back to a lower speed only at the end of a line, and only with the beginning of a new stanza can you go back to the first speed, as shown under (1).  From third speed you go back as shown in the last section, by playing tehãi. As said before, you can play tehãi starting on Rãma Rãma or on Hare Hare.  After fourth speed, you have to play short tehãi, starting on Hare Hare. If you are singing the mahã-mantra, you can return either to the second speed (this is the standard way), or if the kìrtana is very fired-up, go immediately to the third speed. Then, in order to properly enter the third speed, you have to play dvãra immediately after tehãi. An example for the last choice is: (on Hare Rãma) dhene gighi tat dhei ta thene gighi tat dhei ta dhene gighi tat dhei ta thene gighi tat dhei ta (on Rãma Rãma) dhene gighi tat dhei ta thene gighi tat dhei ta (on Hare Hare) tere kheta jha tere kheta jha tere kheta (on Hare Këòøa) tak tak tak tak take take tak da gi tete take dhena da gi tete take dhena~ 5. Summary The following pattern summarizes the different possibilities while singing the Hare Këòøa mahã-mantra: 1. Speed = Tehãi 1. Speed Tehãi 1. Speed = 2. Speed 1. Speed = Tehãi 2. Speed Speed. . . 1. Speed = Tehãi 2. Speed Speed . . . 1. Speed = Tehãi 2. Speed Dvãra 3. Speed . . . 1. Speed = Tehãi 2. Speed Tehãi = 2. Speed . . . Tehãi 1. Speed = 2. Speed Tehãi Dvãra = = 3. Speed . . . Tehãi 1. Speed = = Dvãra 2. Speed 2. Speed 2. Speed 2. Speed 2. Speed 2. Speed Speed . . 3. 3. 3. 3. Speed Speed Speed Speed = Tehãi = Dvãra = Dvãra = Dvãra = Dvãra = Dvãra . 2. 3. 3. 3. 3. 3. ... = Tehãi = Dvãra = Dvãra = Dvãra = Dvãra = Dvãra 3. Speed . . . 2. Speed. . . 3. Speed = Tehãi 3. Speed = Dvãra 3. Speed = Tehãi 3. Speed = 3. Speed =

2. 3. =

4. Speed 4. Speed

Speed. . . Speed = Tehãi 2. Speed. . . Dvãra Speed = 3. Speed . . . Tehãi Speed = = Dvãra 3. Speed . . . Speed = 4. Speed = Tehãi 2. Speed . . . Speed = 4. Speed = Tehãi = Dvãra 3.

= Dvãra 3. Speed . . . Tehãi = = Dvãra 3. Speed . . . Tehãi = 4. Speed = 2. Speed . . . Tehãi = 4. Speed = = Dvãra 3. Speed . . . 4. Speed = 4. Speed = 4. Speed = Tehãi 4. Speed = Tehãi 2. Speed . . . = Dvãra 3. Speed . . .

3. Speed = 3. Speed =

This is the basic system. If it looks confusing, just go through it while singing in the mind. You will quickly get the idea. Now you can play any kìrtana in dynamic, diversified manner. If you sing a song, follow the scheme set up under (1). When you sing the mahã-mantra, start by playing the ãrati beat with the different short and long

tehãi you have learnt so far. Then enter the second speed and play according to the above scheme. If the kìrtana comes to a break or to the end, play the special beats. If the singer starts again, go back to ãrati beat. And so on—you can continue for hours, without getting bored, because you always will find new combinations and variations. You don't need to speculate, everything is included in this system. Please study the chapter about how to play in kìrtana (page xxx), in order to get a better understanding and feeling for communicating amongst each other.

Eleventh Month
Practice Time
More Hãtuti
The following mantra trains the change between single and double speed and the important sequence tere tere kheta takhi tere kheta.

 HA 13

#dha dhene #nake dhene #dhene nake #dhene dhene #dad dhin tere tere #kheta takhi tere kheta #tere kheta tere tere #kheta takhi tere kheta
dha dhe ne na ke dad dhin tere tere~ (like jha) Left open + Right 1 closed Right 3 closed Right 1 up Left open (not strong) (as usual)

Translation

The next hãtuti you will improve your feeling for rhythm, since it is syncopic. It is also very beneficial for the concentration of the mind.

 HA 14

#kot ta #ghenere #kotak #ghenere #kot te#te tete #kotak #ghenere #grighi te#te tete #kotak #ghenere #kota thu#n thun #trithun #na #khi khi te#te khi khi #tete khi #khi tete (#khi guru gur #da ghine/#jha)§
kot ta ghe ne re ko tak kot te te tete Left closed Right 4 open Left open Right 3 open Right 1 open Left closed Right 4 closed (strong) (as before) Right 3 closed Right 1 closed (same again)

Translation

gri Left open + (Right like tri in TEH 12, page 38) ghi Left open (stronger than gri) tete tete kotak~ (as before)

kota thun thun trithun na khi khi tete khi guru gur da ghi ne jha How to practice

(as before) Left closed + Right 4 open (2 times) (as trikhi in TEH 12) Right 4 open Left closed (2 times) (as above) Left closed (as usual) (as usual) Right 4 open (as usual)

 Look at the rhythm. It is a triplet beat, and the following notes have double length, as their name indicates: kot (but not ko!), tak, and thun. With this information you should be able to find out the beat yourself. Listen to the CD, speak the mantra without playing and thus learn the rhythm. You have to concentrate strongly in order to play without mistakes.

More Tehãi
Here are three more long tehãi, starting from Hare Rãma. Tehãi 13 is extremely important for harinãma-saùkìrtana. It is very powerful and also useful for training your hand. Tehãi 14 is a variation of that, so you can learn them together.

 TEH 13

#dhere tete #dhere tete #da ghi tete #dhere ta khi #tere kheta #gade ghine #ta ki ti jha#uti jha (#tere kheta #gade ghine/#dheiya)§ #dhere tete #da ghi tete #dhere ta khi #tere kheta #gade ghine #ta ki ti jha#uti jha #tere kheta (#tere kheta #gade ghine/#dheiya)§
dhere tete da ghi tete dhere ta khi (like in HA 7, page 27) (like jha) Left open (stronger than da) (as above) Right 4 open Left closed

 TEH 14

Translation

tere kheta gade ghine (as usual) ta Right 4 open khi Left closed ti Right 4 open jha u ti jha Left open + Right 3 closed Right 1 closed Right 3 closed (as usual)

tere kheta gade ghine~ (as usual) How to practice  Play with very strict, precise rhythm, like a machine, and take care that the closed strokes with 1 - 3 fingers are clearly closed, with high pitch. Then the mantra will manifest.  Practice these mantras intensely, like hasta-sãdhana or hãtuti, for one hour

continuously. In the next chapter you will learn how to play them in double speed to make the kìrtana fired-up. So try to come to that level, but without losing your clear stroke.

 TEH 15
Translation

(#da da #gade ghine #da da #gade ghine/#jha #_trekhet)§
da da gade ghine jha tre khet (like jha 2 times) (as usual) (like tri) Left closed (very strong)

How to practice

 The sequence tre and khet is played very closely together, but they are still two seperate strokes. Note the space before, which indicates that trekhet takes only one quarter mãtrã, like ga or de—it has to be played fast. Also take care that you play khet very strong and flat, leaving the hand on the skin thereafter.  This mantra is actually a double speed mantra starting from Rãma Rãma. As with the two mantras above, try to come to that level.

Another Special Mantra
This mantra is played in Gaura-ãrati when you interrupt the melody and sing jaga jana mano lobha or åaùkha bãje gaøóha bãje. Listen to the tape how to accompany the singer with this beat.

 X5
Translation

#dhei ta thei #tak ta thei #tak ta thei #tak da da da
dhei ta thei tak da da da Left open + Right 4 open Right 4 open Left closed + Right 4 open Right 4 closed (strong) (like jha—3 times)

How to practice

 Note the rhythm: dhei and tak are as long as ta thei together. The triplet da da da has the same length, so you have to play it faster.  As long as the singer sings jaga jana mano lobha, you play this beat. As soon as he continues with gaurãùgera ãratika åobha, you play dheiya ta kheta tak dhena kheta and so on. When he returns to the normal melody, continue with the ãrati beat.

Playing Tehãi in Double Speed
We have compared the basic speeds to rice and the different tehãi to the various sabjì preperations that make the kìrtana tasty. However, the actual “spice” is added if you can play tehãi in double speed. That makes the kìrtana really fired-up. The system to play a mantra in single speed one time and then two times in double speed is a standard element in playing Mëdaùga. By this, you enter the advanced level, and you have to approach it gradually. Maybe you are not yet ready for it, but at least you should be familiar with the system. Then the goal is before your eye and you can see how much more you have to practice in order to enter the real world of playing Mëdaùga. Moreover, in the next chapter you will meet with tehãi to be played in double speed only. So be prepared for that. Now you will learn how to play a tehãi first in single and then in double speed. Practice this method with TEH 10 and TEH 13, since they are most important. The system is easy: When the singer sings Hare Rãma, you play tehãi in single speed, as usually. When

the audience sings Hare Rãma, you play the same tehãi in double speed, two times in succession without space. Two times double speed equals one time single speed—thus, you are at the end of the mahã-mantra, like before. This looks as follows: (First kot tete geghe tete~ in single speed as usual, then:)

#dhei
Ha-

' '_khi ' '_khi

#ta #ne
re

'uru
re

#te
Kë-

'te 'da 'te 'da

#ta
òøa

' 'da ' 'da

#khik
Ha-

'da 'uru
òøa

#gi
Kë-

#gi
òøa

#dhei #khik
Ha-

#ta
Kë-

#te
Kë-

#ta
òøa

#ne
re

'da
Ha-

#gi
re

#gi

#kot tete 'geghe tete #kota kota 'geghe tete kot tete 'geghe tete #kota kota 'geghe tete
Hare Rãma

##tere kheta 'gade ghine ghine 'dheiya #tere kheta
Hare

#dheiya 'tere kheta 'gade ghine
Rãma

#gade

##kot tete 'geghe tete #kota kota 'geghe tete kot tete 'geghe tete #kota kota 'geghe tete
Rãma Rãma

###tere kheta 'gade ghine ghine 'dheiya #tere kheta
Hare Ha-

#dheiya 'tere kheta 'gade ghine
re

#gade '

#dhei
Ha-

'

#ta

'uru
re

#te
Kë-

'te

#ta
òøa . . .

(Now dhere tete dhere tete daghi tete~ in single speed, then:)

#dhei
Ha-

' '_khi ' '_khi

#ta #ne
re

'uru
re

#te
Kë-

'te 'da 'te 'da

#ta
òøa

' 'da ' 'da daghi 'uti jha #gade daghi 'uti jha #gade '

#khik
Ha-

'da 'uru
òøa

#gi
Kë-

#gi
òøa

#dhei #khik
Ha-

#ta
Kë-

#te
Kë-

#ta
òøa

#ne
re

'da
Ha-

#gi
re

#gi

#dhere tete 'dhere tete #daghi tete dhere tere kheta 'gade ghine #taki ti jha
Hare Rãma

##tere kheta 'gade ghine ghine 'dheiya #tere kheta
Hare

#dheiya 'tere kheta 'gade ghine
Rãma

#dhere tete 'dhere tete #daghi tete dhere tere kheta 'gade ghine #taki ti jha
Rãma Rãma

###tere kheta 'gade ghine ghine 'dheiya #tere kheta
Hare Ha-

#dheiya 'tere kheta 'gade ghine
re

#dhei
Ha-

'

#ta

'uru
re

#te
Kë-

'te

#ta
òøa . . .

Start slowly by using a metronome, first while speaking the tehãi, later while trying to sing the mahã-mantra. You can apply this system with any tehãi—also the short ones— provided your hand is ready. For example:

#dhei #khik
Ha-

' '_khi '

#ta
Ha-

'uru
re

#te
Rã-

'te 'da 'te

#ta
ma

' 'da ' kheta 'kheta '

#ne #ta
Rã-

'da
re

#gi
Rã-

#gi
ma

#dhei

'uru
ma

#te
Rã-

#ta
ma

#kheta kheta 'jha kheta #kheta jha 'kheta #kheta kheta 'jha kheta #kheta jha kheta
Hare Hare

#dhei
Ha-

'

#ta

'uru
re

#te
Kë-

'te

#ta
òøa . . .

Practice by playing continuously only the tehãi, once in single speed and twice in double speed:

#kheta 'kheta

#jha

'kheta

#kheta 'jha

#kheta 'kheta kheta 'kheta

#kheta kheta 'jha kheta #kheta jha 'kheta #kheta kheta 'jha kheta #kheta jha kheta
Or with any other tehãi:

#tere

'kheta

#jha

'tere

#kheta 'jha

#tere

'kheta #tere

#tere kheta 'jha tere #kheta jha 'tere kheta kheta 'jha tere #kheta jha 'tere kheta
More demanding is the following one:

#kheta 'guru gur #jha #kheta 'guru gur

'kheta

#guru gur

'jha

#kheta guru gur 'jha kheta #guru gur jha 'kheta guru gur #kheta guru gur 'jha kheta #guru gur jha 'kheta guru gur
The same system can be used with longer tehãi:

#da #gade

'da 'ghine 'ghine

#gade #jha

'ghine

#jha

'guru gur #da 'da da 'da da 'da

#da 'da #gade

'guru gur

#da da 'gade ghine #jha guru gur guru gur #da da 'gade ghine #da da 'gade ghine #jha guru gur guru gur #da da 'gade ghine

#gade ghine 'jha #gade ghine 'jha

Gradually enhance this practice by playing the first line two, four, or eight times and then the second line in the same number. Start very slowly and progressively increase the speed, like with hasta-sãdhana. Once your hand gets ready to play real double speed, you can apply the same principle to your daily practice of hasta-sãdhana and hãtuti. Play any mantra continuously one time in single speed and then twice in double speed. Or play two times in single speed and four times in double speed, and so forth. This is a good training to obtain a feeling for the change of speed. You will greatly benefit from such practice in kìrtana—and your sãdhana becomes more variegated. However, your hand must be ready. If not, continue as before, by gradually increasing the speed during your one-hour practice time.

Twelveth Month
Practice Time
More Hãtuti
This mantra has a nice melody. It helps you to concentrate on the rhythm and to learn to produce a sweet sound on the Mëdaùga.

 HA 15

#dhini ta #dhini #da dhini #dhini #tini ti#ni tini #da dhini #dhini #ghene ta #ghene ta #khete ta #ghene ta #kheta ghe#na kheta #da ghi ne#ta kheta (#tak ta#k tak #takta #da ghine/#jha #_guru gur)§
dhi ni ta dhi ni da dhi ni dhini ti ni tini tini da dhini dhini Left open + Right 3 closed Right 1 closed Right 3 closed Left open + Right 1 closed Right 3 closed Left open + Right 4 open Left open + Right 1 closed Right 3 closed (same again) Right 3 closed Right 1 closed (same again) (as above)

Translation

ghene ta ghene ta khete ta ghene ta, kheta ghena kheta (as in HA 12, page 37) da (like jha) ghi Left open ne Right 1 up ta Right 4 open kheta (as usual) tak tak tak takta da ghi ne jha guru gur How to practice Right 4 closed (3 times) (like klanta in TEH 4, page 28) (as before) Right 4 open (as usual)

 Note the triplet rhythm. The second, fourth and sixth dhini have a space after the ni. The sequence tak tak tak takta daghi ne is played as follows:

#tak ' 'tak # 'tak ' #tak ' 'ne

'ta #da

'ghi

The next mantra makes your right hand very fast. It is a double speed mantra—look at the mãtrã dashes. Practice intensely for some time; you soon will see the benefit.

 HA 16

#jha jha jha #tere tere tere tere #kheta takhi tere kheta #tere kheta tere tere #kheta takhi tere kheta #ta ta ta #tere tere tere tere #kheta takhi tere kheta #tere kheta tere tere #kheta takhi tere kheta #dad dhin tere tere #kheta takhi tere kheta #tere kheta tere tere #kheta takhi tere kheta #dad dhin dere geda #jha dad dhin #dere geda jha #dad dhin dere geda
jha jha jha (as usual) tere kheta (as usual) tere tere kheta takhi tere kheta (as in HA 3, page 21) ta ta ta Right 4 open (3 times) dad dhin dere geda jha (as in HA 3)  Look at the rhythm: jha jha jha and ta ta ta are played inthe same way as dad dhei ta in hãtuti 1. That means, if you divide the mãtrã into eight parts, the first two notes bear three parts respectively and the third note takes the last two parts.  This is a double speed mantra. You should come to such a level that you can play the ending (dad dhin dere geda/jha) as fast as a short tehãi in kìrtana (like tere kheta/jha). Look at the mãtrã dashes. If you are not on that level, you know how much more you have to practice. But be patient! If you just continue you surely will come to that level.

Translation

How to practice

More Tehãi
The next tehãi is very dynamic. Use it for fired-up kìrtana like gaura-ãrati. It starts at Hare Rãma.

 TEH 16

#tata tata #kata kata #ghu ghu #rata rata #dhapata dha#pata dhani #dhakagra #bajata (#da guru gur dh#in_ ta dhin/#jha)§
ta ta tata kata kata ghu ghu ra ta rata Right 3 closed Right 1 closed (same again) (like kheta kheta) Left open (2 times) Right 1 closed Right 3 closed (same again)

Translation

dha pa ta dhapata dha ni dha ka gra ba ja ta

Left open + Right 3 closed Right 1 closed Right 3 open (same again) Left open + Right 1 closed Right 3 open Left open + Right 4 closed Left closed (strong) Right 4 open (like jha) Left open Right 4 open

da guru gur dhin ta dhin jha (as in TEH 9, page 31) How to practice  Look at the rhythm: In dhapata dhapata dhani, each note takes one fourth of the mãtrã. Play it in strict beat. The sequence dhakagra bajata is played as follows:

#dha 'ka

'

'gra #ba

'

'ja 'ta

Play the ka very strongly. It adds a tasteful “spice” to this mantra.

The last four tehãi are quite demanding. Most probably, you will not be ready to apply them in kìrtana immediately. But since they are very important and beautiful—they actually introduce you to the realm of advanced Mëdaùga beats—you should practice them steadily, like hasta-sãdhana, until your hand gets ready. At least in slow kìrtana you will be able to apply tehãi 17. It starts at Hare Rãma. The combination drege is very important for bhajana beats, so practice nicely.

 TEH 17

#dha ta dhi #drege dhene #da dhi na dhi #drege dhene #ta ta thi #trekhe thene #ta thi na thi #trekhe thene (#da dhin da #drege dhene/#jha kot)§
dha ta dhi dre ge dhe ne da dhi na dhi drege dhene ta ta thi trekhe the ne ta thi na thi trekhe thene (like jha—strong, but not too strong) Right 1 up Left open + Right 1 closed Left open + (Right like tri in TEH 12, page 38) (like jha) Left open + Right 1 closed Right 3 open Left open + Right 1 up (as before) Right 3 open (as before) Right 4 open (strong, but not too strong) Right 1 up Left closed + Right 1 closed (like trikhi) (like thi before) Right 3 open Right 1 up (as before) Right 3 open (as before)

Translation

da dhin da drege dhene jha kot How to practice

Left open + Right 1 up Left open + Right 1 closed (like jha—strong, but not too strong) (as before) (as in TEH 8, page 31)

 The first note in both the first and second line take each half of the mãtrã; thus they are twice as long as the other notes. The same applies to the dhin in the last line—it makes the beat syncopic. Listen to the CD.  You have to make your hand strong and smooth simultanesously in order to manifest the sweet sound of this mantra. It is a good exercise for practicing the change between 1—3 fingers and 4 fingers—thumb (in drege). Practice the first four lines seperately for long time, like hasta-sãdhana. Later, when you enter the realm of bhajana beats, you will greatly benefit from this effort.

The next two tehãi are real double speed beats. Look at the mãtrã dashes: tere kheta gade ghine dheiya is as long as a short tehãi, which means half as long as TEH 5. Also, tere kheta jha has to be played twice as fast as in the original tehãi (TEH 2). Tehãi 18 (starting on Rãma Rãma) is the shorter version of tehãi 19 which starts on Hare Rãma. Practice them together.

 TEH 18

#dhauti nit#ya kheta #ta tere tere #kheta takhi tere kheta #tere kheta gade ghine #dheiya tere kheta #gade ghine dheiya #tere kheta gade ghine #dhauti nit#ya kheta #ta tere tere #kheta takhi tere kheta #tauti nit#ya kheta #ta tere tere #kheta takhi tere kheta #tere kheta jha tere #kheta jha tere kheta #ta tere tere #kheta takhi tere kheta #tere kheta gade ghine #dheiya tere kheta #gade ghine dheiya #tere kheta gade ghine
dhauti (like jhauti in TEH 13, page 47) ni Right 1 up tya Right 4 open kheta (as usual) ta Right 4 open (strong) tere tere kheta takhi tere kheta (as in HA 3, page 21) tauti (like dhauti, but only right hand plays) tere kheta jha (as TEH 2, page 24, but double speed) tere kheta gade ghine dheiya (as TEH 5, page 28, but double speed)

 TEH 19

Translation

How to practice

 The first line is played as follows:

#dha 'u 'ti 'ni # 'tya 'khe

'ta~

The third line of TEH 19 (tauti nitya kheta) follows this rhythm.

 Now you will see the value of practicing tere tere kheta takhi tere kheta so intensly. You have to play it in double speed, else you cannot apply it in kìrtana.

The last tehãi of this course book is again a pure double speed mantra. It is yet very sweet and beautiful. The sequence dhene ne tete te is also very substantial for bhajana. Moreover, this tehãi introduces a new important combination, namely ta kuru khur Practice with metronome in order to get a feeling for the rhythm.

 TEH 20

#dhene ne dhene ne #tete te dhene ne #dhene dhene dhene #ta khuru khur ta thene #ta khuru khur ta thene #dhin ta dhina #dhin ta dhina #dhin ta dhina #jha tere tere kheta tak #tere tere kheta tak tere kheta #dhin ta dhina #dhin ta dhina #jha tere tere kheta tak #tere tere kheta tak tere kheta #dhin ta dhina #dhin ta dhina
dhe ne ne te te te dhene ta khuru khur open) ta the ne dhin ta dhi na Left open + Right 1 up Right 1 closed Right 3 open (like dhene ne before, but only the right hand plays) (as before) Right 1 up (khenere khena—like guru gur, but left hand closed instead of Right 1 up Left closed + Right 1 closed Right 3 open Left open + Right 3 open Right 1 open (like dhin above, but half of its length) (like ta above, but double length)

Translation

jha (as usual) tere tere kheta (as usual) tak Right 4 closed (strong) How to practice  Look at the rhythm. Each mãtrã takes six notes. That means, khuru and khur are as short as ta, similar to da guru gur. The sequence dhin ta dhina is played as follows:

#din #jha 'tere

'

'ta 'dhi'na '_ 'kheta 'tak#tere 'kheta

The sequence jha tere tere~ is actually in triple speed. Therefore this mantra is so demanding. Look at the scheme:

' 'tere 'tere 'kheta 'tak'tere

Practice this sequence seperately for some time until you gain the proper speed.

More Special Mantras
Finally, here are two mantras which you need when singing “Jaya Prabhupãda” etc. When the kìrtana is really fast, the singer usually makes a break and continues slowly: “Ja - - ya — Pra-pu-pã-da . . .”. In that case, you play the two following mantras:

 X6  X7
Translation

#ja ja jhe#na jhena #ja jhena #jhenow_ #ta ta the#na thena #ta thena #thenow_ #ja jhena #jhenow_ #ta thena #thenow_
ja jhe na now ta the na, now (like jha) (like ja, but strong) Right 4 open (same, but double length) Right 4 open Left closed + Right 4 open (strong) (as before)

How to Play “Jaya Prabhupãda” Slowly
When the singer interrupts the rhythm by singing a long “Ja - - - ya”, you stop playing. On “Pra-bhu-pã-da” you continue with X 6 and then X 7 as follows:
Ja — ya —

#ja 'ja
PraPra-

'jhe #na 'jhe 'na #ja 'jhe 'na #jhe
pãpãda da — — Jaya

'now 'now 'now
ya bhu-

' ' ' '

bhubhu-

#ta 'ta 'the #na 'the 'na #ta 'the 'na #the #ja 'ja
PraPra-

'jhe #na 'jhe 'na #ja 'jhe 'na #jhe
pãpãda da — — JaPra-

bhubhu-

#ta 'ta 'the #na 'the 'na #ta 'the 'na #the #ja 'jhe 'na #jhe 'now '
pã-

'now

'now 'now 'now
ya Ja-

'
da

#ta 'the 'na #the
Prabhu-

#ja 'jhe 'na #jhe 'now '
pã-

'
da

#ta 'the 'na #the
Prabhu-

#ja 'jhe 'na #jhe 'now '
pãda Ja-

'
ya

#ta 'the 'na #the
Prabhu-

#ja 'jhe 'na #jhe 'now '
pãda Ja-

'now
ya Ja-

'
ya

#ta 'the 'na #the
Prabhu-

#ja 'jhe 'na
pã  da

~
~

When the kìrtana gets too fast to play jha jhena jhenow ta thena thenow, change to dheiya ta kheta tak dhena kheta and continue as usual. If you can play the above mantras nicely, you will add a very dynamic mood to the kìrtana.

How to Play the Standard Kìrtana Melodies
We want to end this twelve-month course with an overview how to play the standard kìrtana in an ISKCON temple program. Of course, we can give no strict rules how to play (and do not want so), because your contribution as Mëdaùga player depends mainly on the mood of the kìrtana singer—you have to follow him, not the other way! Still, there are some general rules which will help you to play nicely in kìrtana. The gaura-ãrati has already been explained on page 41, also how to play to the Hare Këòøa mahã-mantra. So here are some hints regarding the songs of the morning program: 1. Maùgala Ãrati  Basically, you play like in gaura-ãrati. But since the mood during the brahmamuhúrta is much more peaceful, you have to play more softly than in the evening. Therefore, use short tehãi rather than fired-up long ones. (However, TEH 17 and TEH 20 sound wonderful in the morning if you can play them nicely.)  You should start with second and third speed not before coming to the fifth stanza (årì rãdhikã-mãdhavayor apãra), except if the singer demands them before.  The fourth speed should not be played in this song. Only if you have a very dynamic singer, you can play it shortly at the end of the mahã-mantra part. 2. Nësiõha-Stotram  Play the first part (until nësiõham ãdiõ åaraøaõ prapadye) in ãrati beat, with different short and middle long tehãi at the end of each second line.  From tava-kara-kamala-vare until tanu-bhëùgam, play second speed, with dvãra at the end so that you can enter the third speed on keåava-dhëta.  Play third speed from keåava-dhëta until the end of the line and finish with a short tehãi.  Repeat the same sequence on the audience's part, but use different dvãra and tehãi. It sounds nice if you play take take tak on the singer's part and tak tak tak tak take take tak when the audience responds. If this part is repeated, you can use for example D 3 and D 4.  If the kìrtana gets more fired-up—especially in the evening, after gaura-ãrati—you can enter fourth speed on jaya jagadìåa hare. Return to second speed at the end of the line, as before. 3. Tulasì-Pújã  Here is a nice system for this song: 1. Line – Singer (namo namo tulasi këòøa-preyasi namo namaæ) 1. Speed – Audience Full-length Tehãi1 2. Line – Singer (rãdhã-këòøa-sevã-pãvo ei abilãsì) 2. Speed, ending with Dvãra – Audience 3. Speed, ending with Tehãi Refrain – Singer (namo namo tulasi këòøa-preyasi namo namaæ) 3. Speed, starting with Dvãra – Audience 4. Speed, ending with Tehãi
1

That means, tehãi starting on Hare Rãma

Repeat this sequence until you come to the last stanza— usually it is sung in a different melody: 1. Line – Singer kheta~) – Audience 2. Line – Singer kheta~) – Audience 2. Line – Singer ta khi~) – Audience Refrain – Singer starting with Dvãra – Audience Tehãi (dìna këòøa-dãse koya ei yena more hoya) X 1 (dhei ta dhei ta X1 (årì-rãdhã-govinda-preme sadã yena bhãòi) X2 (årì-rãdhã-govinda-preme sadã yena bhãòi) X 2 (dheiya ta X 3 (dhei tat da

X 3, ending with X 4 (namo namo tulasi këòøa-preyasi namo namaæ) 3. Speed, 4. Speed, ending with

Here you end with X 4 and immediately continue with third speed. Remember, you have to skip the last khi, since it is soma, and instead enter dvãra immediately (compare to the standard way to end the kìrtana, page 40). In other words, you play:

#dhei ' 'da
årìrã-

'tat 'da #ta 'khi 'tat 'da #ta 'khi 'tat 'da #gi 'da 'gi
dhãgovindapreme

#dhei ' 'da
sa-

'tat 'da #ta 'khi 'tat 'da #ta 'khi 'tat 'da #gi 'da 'gi
dã yena bhãòi

#dhei '
årì-

' '
rã-

'tat 'da #ta 'khi 'tat 'da #ta 'khi 'tat 'da #jha
dhãgovindapreme

'

#dhei ' 'da
sa-

'ta 
dã ye-

'dhei
na

#

'ta
bhã-

'dhei   'guru gur
òi.

#da 'da ghi
tu-

#tak 'tak #tak 'tak #ta ke ' ta 'tete #take dhena #da ghi 'tete
namo namo

# ke #take

'tak #da dhena

##da ghi dhena #take
lasi

'tete #take #da ghi 'tete dhena
këòøa-

dhena #take
pre-

#da ghi 'tete #take dhena #da ghi 'tete
ya si

 Another system is to sing each line two times, instead of repeating the refrain after each line. Then you can play as follows: 1. Line – – Tehãi 1. Line – – 2. Line – Dvãra – Tehãi 2. Line – Singer (ye tomãra åaraøa laya, tãra vãñca púrøa haya) 1. Speed Audience 1. Speed with Short Singer Audience Singer (këpã kari' kara tãre vëndãvana-vãsì) Audience Singer 1. Speed Full-length Tehãi 2. Speed, ending with 3. Speed, ending with 3. Speed, starting with

Dvãra – Audience Tehãi 4. Guru-Pújã  This song has two melodies. Usually, the second melody starts with cakòudhanadila yei, but sometimes later, on årì-guru karuøã-sindhu. It depends on the mood of the singer, since the second melody is more dynamic. You have to find out when the singer changes because you will have to change the beat accordingly.  The first melody is accompanied with first, second and third speed, according to the mood. Follow the principle of maùgala-ãrati (first line ãrati beat with tehãi, second line just so when the kìrtana is slow, and with second and third speed if it gets faster).  For the second melody you have to play X 1 and X 2, as above in the tulasì-pújã. The rule is that you play X 2 in the second line whenever you have played X 1 in the first line. These two mantras belong together.  The last line (hã hã prabhu kara dayã deho more pãda-chãyã) is often sung in half speed. Then you play X 6 (ja ja jhena jhena ja jhena jhenow) on the first line and X 7 (ja jhena jhenow) on the second line. These two mantras also have to be played together: Whenever you play X 6 in the first line, you have to play X 7 in the second line. 5. Finishing the Kìrtana All songs are finished in the standard way, as you have learnt in Chapter 10. In a later course book you will learn many more mantras and decorations for this and other cases. Until then, play the standard system—it is very nice and pleases Këòøa, because it follows the paramparã. Try to become a better Mëdaùga player by improving your hand and developing your feeling for rhythm and speed, rather than trying to add more “varieties” by cribbing some speculation beats from other players. Këòøa and the devotees will be very thankful for this endeavor and you soon will derive the fruit of your sincerity. 4. Speed, ending with

Appendix
Glossary List of Verses Quoted List of Mantras Taught in This Book
Abbreviations:
[ttkttk] = tere tere kheta takhi tere kheta [gng] = ghene nere ghena [knk] = khene nere khena

1. Hasta-Sãdhana
Number Chapter Page HS 1 HS 2 HS 3 HS 4 HS 5 1 1 1 3 4 3 3 3 9 14 Mantra tere kheta tere kheta tere tere kheta tere kheta tere kheta tere tere tere kheta tikhi takhi tere kheta kheta takhi tere kheta [gng] geda [knk] kheta khete tete tete kheta khete tete kheta khete tete kheta tete kheta tete tete tete kheta tete tete kheta tete tete kheta tete kheta khete tete tete kheta tete tete tete kheta khete tete kheta khete tete kheta tete kheta tete tete kheta tete tete kheta tete kheta khete tete kheta tete kheta tete tete kheta tete kheta khete tete kheta tete tete kheta tete kheta tete kheta tere kheta tere tere kheta tere tere tere kheta khete tete tete kheta tere kheta khete tete kheta tak tere kheta tikhi takhi tere kheta kheta takhi tere kheta [gng] geda [gng] [gng] [knk] kheta [knk] [knk] khete tete kheta khete tete kheta tete kheta khete tete tete kheta tete kheta tete tete kheta tete tete kheta tete kheta tete tete tete kheta tete kheta dere geda [gng] [gng] nere ghena tere kheta [knk] [knk] nere khena ghene ne ghene ne [gng] nere ghena ghena tak tere kheta khene ne khene ne [knk] nere khena khena tak tere kheta

HS 6 HS 7 HS 8 HS 9 HS 10

4 5 6 7 10

15 19 21 23 36

2. Hãtuti
Number Chapter Page HA 1 3 13 Mantra (da guru gur da guru gur da gur)& (dad dhei ta guru gur da gur da guru gur da guru gur da gur)§ (dad dhei ta guru gur da gur)§da guru gur da guru gur da gur (dad dhei ta)§guru gur da gur da guru gur da guru gur da gur da guru guru gur da guru guru gur da gur da gur (gher geda guru gur guru gur da guru guru gur da guru guru gur da gur da gur)§ (gher geda guru gur guru gur )§da guru guru gur da guru guru gur da gur da gur (gher geda)§guru gur guru gur da guru guru gur da guru guru gur da gur da gur (tere kheta gi ghi nake/jha guru gur)§ dere gere dere gere ([gng] now tere kheta)"([gng])§now tere kheta tikhi takhi tere kheta

HA 2

5

20

HA 3 HA 4 HA 5

6 7 8

21 23 26

dhereti dhereti dhere da ghi [ttkttk] tereti tereti tere takhi [ttkttk] dad dhin [ttkttk] (dad dhin dere geda/jha)§ ghene tere ghene tak (tere kheta ghene)"tere ghena tak tere (tere ghena)§ {khi guru gur dad dhin (tete tete kheta tak)§}§ (dere dere ghena nak tere tere kheta tak)§ (dere dere ghena nak tere tere kheta tak/jha)§ (dad dhin dere geda)"dad dhin [ttkttk] (dere geda)"(jhete nete geda)"jha_ tete nete nete kheta khete nete nete kheta (dere geda)" (dhere tete dhere tete dhat dhat dhere tete)"(dhat dhere tete)"dhere tete (kheta kheta gade ghine tere kheta gade ghine/jha)§ (dhereti)$dhere dhere da ghi [ttkttk] (tereti)$ tere tere ta khi [ttkttk] dad dhin [ttkttk] (dad dhin dere geda/jha)§ (kot tete geghe tete kota kota geghe tete)"(kota geghe tete)"(geghe tete)§ (dha klan ta tete kota gade ghine/jha)§ ([gng])§tak tere kheta ([knk])§tak tere kheta ([gng])"ghene ne ghene ne tete te ghene ne (tete ghene)§[gng] tak tere kheta ([knk])"khene ne khene ne tete te khene ne (tete khene)§[knk] tak tere kheta (nin ta khi tere kheta)§[knk] now tak tere kheta [knk] (nin da ghi dere ghena)§[gng] now dag dere ghena [gng] gheneta gheneta kheteta gheneta teteta teteta kheteta teteta kheta ghena kheta ta guru gur da ghina (teteta ta kheta tak dhena kheta/jha _guru gur)§ dha dhene nake dhene dhene nake dhene dhene dad dhin [ttkttk] tere kheta [ttkttk] kot ta ghenere kotak ghenere kot tete tete kotak ghenere grighi tete tete kotak ghenere kota thun thun trithun na (khi khi tete)§(khi guru gur da ghine/jha)§ dhini ta dhini da dhini dhini tini tini tini da dhini dhini ghene ta ghene ta khete ta ghene ta kheta ghena kheta da ghi neta kheta (tak tak tak takta da ghine/jha _guru gur)§ jha jha jha tere tere [ttkttk] tere kheta [ttkttk] ta ta ta tere tere [ttkttk] tere kheta [ttkttk] dad dhin [ttkttk] tere kheta [ttkttk] (dad dhin dere geda/jha)§

HA 6 HA 7 HA 8 HA 9 HA 10

8 8 9 9 10

27 27 30 30 36

HA 11 HA 12

10 10

37 37

HA 13 HA 14

11 11

46 46

HA 15

12

52

HA 16

12

53

3. Hãtuti Decoration Beats
Number Chapter Page HD 0 HD 1 HD 2 HD 3 HD 4 HD 5 5 4 4 4 4 4 19 15 16 16 17 17 Mantra jha guru gur dad dhena (da guru gur da guru gur dhena)§ jha guru gur dad dhena da guru gur da guru gur dhena/jha (tete tete kheta tak da ghi nake jha uru take take tete kheta da ghi nak uru)§ (da ghi nake/jha guru gur)§ dhow kheta dheiya guru gur dhini dheiya tere kheta tak dhini dheiya (khi khi tak/jha)§ {(da guru gur dhena)§jha guru gur}§ takhi tata kheta tata kheta takhi ta guru gur dheiya ti neta kheta kheta takhi ta (dad dhin nak dhin nak dhin jha guru gur)§ dheiya ta kheta da ghi neta kheta kheta dheiya da dheiya (dad dhin nak dhin neda/jha guru gur)§ (jha jha guru gur da gur da guru gur da guru gur da gur jha jha guru gur da guru gur da guru gur da gur)§

4. Kìrtana Beats
Number Chapter Page K1 6 22 Mantra khik _khi neda gida gida dhei ta uru tete ta

K2 K3 K4

7 8 10

25 29 41

da ghi tete take dhena da ghi tete take dhena dhena gighi tat dhei ta thena gighi tat dhei ta

5. Tehãi
Number Chapter Page TEH 1 TEH 2 TEH 3 TEH 4 TEH 5 TEH 6 TEH 7 TEH 8 TEH 9 TEH 10 TEH 11 TEH 12 TEH 13 7 7 7 8 8 8 9 9 9 9 10 10 11 24 24 24 28 28 28 31 31 31 32 38 38 47 Mantra (kheta kheta/jha)§ (tere kheta/jha)§ (kheta guru gur/dhei)§ (ta klanta/jha)§ (tere kheta gade ghine/dheiya)§ (da da gade ghine/jha guru gur)§ (kheta tak gade ghine/dheiya)§ (jhete tete geghe tete/jha kot)§ tete tete kheta ta ti now na kheta ta dhow kheta dhara kheta dharta dharta dhar (da guru gur dhin ta dhin/jha)§ (kot tete geghe tete kota kota geghe tete)"(tere kheta gade ghine/dheiya)§ kot tete geghe tete kota geghe neta kheta ta_ klanta tete kota gade ghine (khi guru gur da da/jha)§ kot tete geghe tete kota geghe neta kheta ta_ klanta tete kota gade ghine khi guru gur da da jha_ tete tete (trikhi tak/jha)§ dhere tete dhere tete da ghi tete dhere ta khi tere kheta gade ghine ta ki ti jhauti jha (tere kheta gade ghine/dheiya)§ dhere tete da ghi tete dhere ta khi tere kheta gade ghine ta ki ti jhauti jha tere kheta (tere kheta gade ghine/dheiya)§ (da da gade ghine da da gade ghine/jha _trekhet)§ tata tata kata kata ghu ghu rata rata dhapata dhapata dhani dhakagra bajata (da guru gur dhin_ ta dhin/jha)§ dha ta dhi drege dhene da dhi na dhi drege dhene ta ta thi trekhe thene ta thi na thi trekhe thene (da dhin da drege dhene/jha kot)§ dhauti nitya kheta ta [ttkttk] (tere kheta gade ghine/dheiya)§ dhauti nitya kheta ta [ttkttk] tauti nitya kheta ta [ttkttk] (tere kheta/jha)§ta [ttkttk] (tere kheta gade ghine/dheiya)§ dhene ne dhene ne tete te dhene ne dhene dhene dhene (ta khuru khur ta thene)" (dhin ta dhina)§{jha (tere tere kheta tak)"tere kheta (dhin ta dhina)"}"

TEH 14

11

47

TEH 15 TEH 16 TEH 17

11 12 12

48 53 54

TEH 18 TEH 19 TEH 20

12 12 12

55 55 56

6. Dvãra
Number Chapter Page D1 D2 D3 D4 D5 D6 9 9 9 9 9 9 33 33 33 33 33 33 Mantra take take tak tak tak tak tak take take tak tak tak tak tak tak tak tak ta tak take take tak tak tak tak ta tak dhin take dhin take take tak dhin tak_ tak_ tak_ tak take take tak tak tak tak ta tak

7. Special Beats
Number Chapter Page X1 X2 X3 X4 X5 X6 X7 9 9 10 10 11 12 12 34 34 39 39 48 57 57 Mantra dhei da dhei ta kheta kheta dheiya ta kheta tak dhena kheta dhei tat da ta khi tat da ta khi tat da gida gida jha_ dheita dheita dhei guru gur da da da/khi dhei ta thei tak ta thei tak ta thei tak da da da ja ja jhena jhena ja jhena jhenow_ ta ta thena thena ta thena thenow_ ja jhena jhenow_ ta thena thenow_

Sign up to vote on this title
UsefulNot useful