Mrdanga Book

A Twelve Months
by Bablu Dasa
Compiled by
Garanhati Publishers
For further information please contact:
Bablu Dasa
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-Sadhana—Hand Practice
Hasta means “hand” and sadhana, “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 hasta-
sadhana is like learning the letters of the alphabet. Practice them steadily every day.
 HS 1 #tere #kheta
 HS 2 #tere #kheta #tere #tere #kheta
 HS 3a #tere kheta #tere kheta #tere tere #tere
kheta
 HS 3b #tikhi takhi #tere kheta #kheta takhi #tere
kheta
 HS 3 #tere kheta #tere kheta #tere tere #tere
kheta
#tikhi takhi #tere kheta #kheta takhi #tere
kheta
Translation te Right 4 closed
re Right thumb
khe Left closed
ta Right 4 open
tere tere (like tere above, 2 times)
kheta (as above)
ti Right 4 closed
khi Left closed
ta Right 4 open
khi Left closed
khe Left closed
ta Right thumb (This ta is played like re!)
ta Right 4 open
khi Left closed
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 Mrdanga.
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 matra dashes. Matra 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-sadhana-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 Mrdanga
By hasta-sadhana 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 Mrdanga and how to hold it properly.
As we have compared hasta-sadhana to learning the alphabet of the Mrdanga, we
introduce now the many different words. They are called hatuti. Hat means “hand” and
tuti, “repeating again and again”. Like hasta-sadhana, the different hatuti-mantras are
repeated again and again, for one or two hours continuously, in order to train the hand.
The difference is that all hatuti are part of the language of the Mrdanga. All kìrtana
melodies are composed of different hatuti-mantras, either partially or in complete form.
Thus, by learning hatuti, not only will your hand become very strong but you also learn to
speak on the Mrdanga, by meeting the vast realm of different tala and rhythms. In other
words, hatuti introduce you into the system of playing melodies on the Mrdanga.
This system is as old as the Mrdanga itself. It is the foundation of the Mrdanga. The
name hatuti is mentioned in books from the time of the Gosvamìs. Without learning
these mantras you will not be able to manifest proper melodies. In this course we
present the first sixteen hatuti-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 Maha-Mantra of the Mrdanga

This mantra is essential for learning Mrdanga. 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 #ghenere #ghena #jha #ghenere #ghena

#jha #ghena/*#jha
Translation ghe Left open
nere (same as tere—played with double speed)
ghe Left open
na Right open
jha Left open + Right 4 open
When you play in double speed—the standard speed for this hatuti—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 (like jha above, but Right 4 closed)
guru (same as ghenere)
gur (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
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 matra
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 tala 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 tala 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 #jha #ghena
#jha #ghenere #ghena #jha #ghenere
#ghena #jha #ghena
#da guru #gur da #guru gur #da gur
#da guru #gur da #guru gur #da
gur~
 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 matra
dashes or beat marks. On each of these eight matra 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-sadhana 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.
Hatuti 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 matra dashes on da guru
gur da guru gur da gur.
 HA 1b (#dad dhei ta #guru gur da gur #da guru gur

da #guru gur da gur)§
 HA 1c (#dad dhei ta #guru gur da gur)§ #da guru
gur da #guru gur da gur
 HA 1d (#dad dhei ta)§ #guru gur da gur #da guru
Translation 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)
How to Practice  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 matra into eight parts then
dad occupies three parts, dhei again three parts, and ta the remaining two.
This looks as follows:
#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 matra on the metronome, then add the Mrdanga.
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 matra 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.
Hatuti 1—The Complete First Part
Now you should be ready to assemble the above parts and play the complete first part of
hatuti 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
(#dad dhei ta #guru gur da gur)§ #da guru
(#dad dhei ta)§ #guru gur da gur #da guru
How to practice  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.
Third Month
Practice Time
More Hasta-Sadhana
This mantra prepares your hand for the second part of hatuti 1.
 HS 4 #ghene nere #ghena geda

#khene nere #khena kheta
Translation ghe Left open
ne Right thumb (same as re)
nere (like tere)
ghe Left open
na Right 4 open
ge Left open
da Right 4 closed (strong and sharp sound)
khe Left closed
ne nere (as above)
khe Left closed
na Right 4 open
khe Left closed
ta Right 4 open (not strong like the da above)
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 hatuti 1. Also, continue to practice
HA 1-1, and also HS 3, at least on one or two days
Hatuti 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.
 HA 1e #da dere dere ghena #da dere dere
ghena #jha ghena jha ghena
da guru guru gur da guru guru gur
da gur dagur
Translation da Left open + Right 4 closed
de Left open + Right 4 closed
re Right thumb
ghe Left open
na Right 4 open
ghena (as before)
da (as da above)
guru (like dere)
gur (like ghena)
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.
Hatuti 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-sadhana 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 (same as ghene nere)
geda (same as ghena da)
How to practice  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)§
 HA 1g (#gher geda #guru gur guru gur )§
gur da gur
 HA 1h (#gher geda)§ #guru gur guru gur
gur da gur
How to practice  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).
 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).
Hatuti 1—The Complete Second Part

Now you should be ready to assemble the above parts and play the complete second
part of hatuti 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
gur da gur)§
(#gher geda #guru gur guru gur )§
gur da gur
(#gher geda)§ #guru gur guru gur
gur da gur
How to practice  Note that, as contrary to HA 1-1, the first line is not repeated.
Hatuti 1—Ending (Tehai)
Before showing the complete hatuti 1, we introduce a mantra which is played at the end.
This kind of mantra is called tehai. (More on tehai 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 (as usual)
gi Left open
ghi Left open (stronger than gi)
na Right 1 up
ke Left open (not strong)
jha Left open + Right 4 open (strong)
guru gur (as in HA 1-1)
How to practice  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 kheta gi ghi nake jha guru
tere kheta gi ghi nake
tere kheta gi ghi nake~
If you play the tehai at the end of the hatuti, 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 tehai, so study it carefully.
 Again, study the timing by counting the matra dashes. The following parts
have all the same length, namely one matra:
 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 hatuti is a double speed mantra. In the
same time you play tere kheta in the tehai 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 hatuti 1.
Hatuti 1—The Complete Mantra
Now we can assemble all the above parts and play the complete hatuti 1.
 HA 1 (#da guru gur da #guru gur da gur)&

(#dad dhei ta #guru gur da gur #da guru gur
(#dad dhei ta #guru gur da gur)§ #da guru
(#dad dhei ta)§ #guru gur da gur #da guru
#da guru guru gur #da guru guru gur #da gur
da gur
(#gher geda #guru gur guru gur
gur da gur)§
(#gher geda #guru gur guru gur )§
gur da gur
(#gher geda)§ #guru gur guru gur
gur da gur
(#tere kheta #gi ghi nake/#jha guru gur)§
How to practice  Play continuously. There is no space between the first and second part or
between the second part and the tehai. 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 (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.
Fourth Month
Practice Time
More Hasta-Sadhana
As I said, in this month you should practice mainly hatuti 1. Here are two additional
hasta-sadhana-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
Translation khete (like khene in HS 4)
tete (like tere)
kheta (like khena in HS 4)
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
mantra and one day hatuti 1, then go to the next hasta-sadhana.
 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
khete tete kheta (like in HS 5 above)
tak Right 4 closed (very strong and sharp sound)
tikhi takhi~ (like in HS 3, page 3)
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.
Hatuti 1—Decorations
The following five mantras are called dvara or “gate”. They are a nice introduction to
hatuti 1. First, learn them separately, then I explain how to use them together with hatuti
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
Translation te Right 3 closed
te Right 1 closed
tete (same again)
khe Left closed
ta Right 3 closed
tak Right 1 up
da Left open + Right 4 open
ghi Left open
na Right 1 up
uru Right 4 open, then thumb, then 4 open (in swift
sequence)
ta Right 4 open
ke Left closed
take (same again)
tete kheta (like tere kheta)
da ghi nak (like da ghi na above)
uru (as above)
da ghi nake (as above)
jha guru (as in HA 1-TEH)
How to practice  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
Translation dhow Left open + Right open
kheta (as usual)
dhei Left open + Right open
ya Right 4 open
guru gur (as usual)
dhi Left open + Right 1 closed
ni Right 3 open
dheiya (as before)
tere kheta (as usual)
tak Right 1 up
dhini dheiya (as before)
khi khi Left closed (2 times)
tak Right 1 up
jha (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
Translation da guru gur (as usual)
dhe (like jha)
na Right 4 open
jha guru gur (as usual)
ta Right 4 open
khi Left closed
tata Right 4 open (2 times)
kheta (as usual)
takhi (as before)
ta Right 4 open
guru gur (as usual)
dhei (like jha)
ya Right 1 closed
ti Right 3 closed
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
Translation dad Left open + Right 4 closed
dhin (like jha—left hand stronger than the dad before)
nak Right 1 up
dhin (as before)
dhei (like jha)
ya Right 4 open
ta Right 4 open
kheta (as usual)
da Left open + Right 4 closed
ghi Left open (stronger than the da before)
ne Right 1 open
ta Right 4 open
dheiya, da (as before)
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)§
Translation dad dhin nak dhin (as in HD 4 before)
ne Right 1 closed
jha guru gur da~ (as usual)
How to practice  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 hatuti 1. Play
in the following way, without space between the different parts. This is the
standard system of playing hatuti 1. In the next chapter you will learn one
mantra that serves as connection between other hatuti.
(ghenere ghena jha ghenere ghena jha ghena/jha)&
HD 1
HD 2
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
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-sadhana-mantras.
Fifth Month
Practice Time
Common Decoration Mantra for All Hatuti

In the following, we will present more hatuti. 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 hatuti 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
Translation jha guru gur (as usual)
dad Left open + Right 4 closed
dhe Left open (strong sound) + Right 4 open
na Right 4 open
da guru gur (as usual)
dhena (as before)
How to practice  After having played one hatuti, if you want to continue with another one
instead of repeating the same one, you have to play D0 between the two
hatuti, 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 hatuti 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 hatuti, 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 hatuti together. Also,
continue with hatuti 1 and HS 5 and 6.
More Hasta-Sadhana
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
How to practice  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
Mrdanga.
The Second Hatuti
If you can play HS 7 nicely, the following hatuti 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 ghene #nere ghena
#tikhi takhi #tere kheta
Translation dere gere (like dere ghena in HA 1e, page 10)
ghene nere ghena (as in HS 7 above)
now Right 4 open (strong)
tikhi takhi tere kheta (as in HS 3, page 3)
How to practice  Now you can apply to hatuti what you have practiced in the hasta-sadhana-
mantra before. Listen to the CD and try to make the Mrdanga 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-Sadhana
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
Hatuti Number Three

This hatuti 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
Translation dhe Left open + Right 4 closed
re Right thumb
ti Right 4 open
ghi Left open (stronger than da)
tere tere kheta (as usual)
ta Right 4 open
khi Left closed
tere (as usual)
ti Right 4 open
dad dhin (as in HD 4, page 17)
dere geda (like dere gere in HA 2, page 19)
jha (as usual)
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.
Arati Beat—Entrance into Kìrtana

This mantra is the basic beat for kìrtana. It can be played with mangala arati, nrsiõha
arati, tulasì arati, guru-púja, sandhya arati and many different kinds of Hare Kròøa
melodies. It is very popular in the Gauîìya Vaiòøava society because with this mantra,
you play in daspahira tala (8-matra), the most common tala for Vaiòøava songs.
K1 #khik _khi #neda #gida #gida #dhei #ta uru

#tete #ta
Translation khik Left closed
khi Left closed (note that there is a short space before)
ne Right 1 up
da (like jha)
gi Left open
da (like jha)
dhei Left open + Right 4 open (strong)
ta Right 4 open
uru (as in HD 1, page 15)
tete (like tere)
ta Right 4 open
How to practice  Note the timing of the second half: ta, uru, te, and te take half matra 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 tehai
(endings). Your main practice should still be hasta-sadhana and hatuti.
Later, when we come to the more demanding kìrtana beats, you will be
thankful for this endeavor.
Seventh Month
Practice Time
More Hasta-Sadhana and Hatuti

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
Translation dere geda (as in HA 3, page 20. The da is played very strongly.)
ghene nere ghena,
khene nere khena (as in HS 4, page 9)
How to practice  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).
 HA 4 #ghene tere #ghene tak #tere kheta #ghene

tere #kheta ghene
#tere ghena ##tak tere #tere ghena #tere
ghena #tere ghena
Translation ghene tere ghene (like genere nere ghena)
tak Right 4 closed (strong)
tere kheta, ghene, ghena (as usual)
How to practice  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.
Tehai—Endings for Kìrtana Beats

Now we introduce the first tehai for kìrtana. When you sing Hare Kròøa while playing
arati beat, you have to play tehai at the end of each Hare Kròøa mantra. How this is
done, we explain afterwards. The word tehai comes from the Bengali word tina, “three”,
because basically it is a system of dividing a beat into three parts.
Why playing tehai? You can compare the kìrtana to a nice prasadam feast. The arati
beat and the other speeds are like rice. Rice is very tasty, but the real taste comes from
the various sabjì preparations. The different tehai are thus compared to the sabjì of the
feast. They make the kìrtana tasty and variegated. There are thousands of different
tehai, many of them are on a very high level. In this course you will learn twenty basic
tehai by which you add a lot of taste to the kìrtana.
 TEH 1 (kheta kheta/jha)§ or #kheta kheta #jha
kheta #kheta jha
#kheta kheta
 TEH 2 (tere kheta/jha)§ or #tere kheta #jha
tere #kheta jha
#tere kheta
 TEH 3 (kheta guru gur/dhei)§ or #kheta guru gur
#dhei
kheta #guru gur
dhei
#kheta guru gur
Translation kheta, tere, guru gur, jha (as usual)
dhei (like jha)
How to practice  Look at the rhythm. Since these tehai take four matra each, we can apply
no matra 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 tehai and other kìrtana-mantras, and it is always in
double speed. So continue to practice hatuti 1 with great enthusiasm.
 The note after the slash (here jha or dhei) bears the melody of the tehai.
You have to play it strongly (like the dhei in the arati 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 tehai of hatuti 1 (page
12) how to play these beats continuously.
Then, by following the explanation below, try to sing Hare Kròøa or some
arati songs while playing the arati beat together with these tehai. However,
don't forget your daily practice of hasta-sadhana and hatuti!
How to Play the Basic Kìrtana Beat

Now we can play the arati beat together with tehai. Let us examine the rhythm in detail:
 On counting the matra you see that each of the above tehai takes one half of the arati
beat (namely, four of eight matra). Later, we will introduce longer tehai, but now let us
look at the basic system.
 In order to sing one complete Hare Kròøa maha-mantra, you have to play the arati beat
four times: One on Hare Kròøa, one on Kròøa Kròøa, one on Hare Rama, and one on
Rama Rama. 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 tala does not necessarily start with the beginning of the mantra. In this
case, the tala starts in the middle of the arati beat, on dhei.
 Thus, on Hare Kròøa you start with dhei da uru tete ta—i.e. one half arati beat—then
you play three complete arati beats and then—on the last Hare Hare—you add one of
the above tehai. Thus, you have completed four full arati beats, because the tehai
occupies the remaining half beat.
 Continue with the next maha-mantra without space, by playing dhei da uru tete ta
immediately after the tehai. This is the basic system of all kìrtana. In terms of the
notation of the tehai,
(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 arati beat.
As an example, let us take the first tehai, sung in the standard melody of the mangala-
arati:
#dhei ' #ta 'uru #te 'te #ta

'
Ha- re Kr- òøa
#khik '_khi #ne 'da #gi 'da #gi 'da #dhei ' #ta 'uru #te
'te #ta '
Ha- re Kr- òøa Kr- òøa Kr- òøa
'te #ta '
Ha- re Ha- re Ha- re Ra- ma
'te #ta '
Ha- re Ra- ma Ra- ma Ra- ma
#kheta 'kheta #jha 'kheta #kheta 'jha #kheta 'kheta

#dhei ' #ta 'uru #te 'te #ta '
Ha- re Ha- re Ha- re Kr- òøa . . .
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 arati 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 #da ghi #tete #take #dhena

Translation da (like jha)
te Right 1 open
te Left closed + Right 3 closed
ta Right 4 open
dhe (like jha) (left hand strong sound)
na 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 arati 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 arati beat. That means, you have to
play seven times second speed and one tehai in order to complete one Hare
Kròøa maha-mantra.
 Practice first seperately, while speaking the mantra, then apply in kìrtana
together with the tehai you have learnt.
Eighth Month
Practice Time
More Hatuti
Hatuti 5 trains you to change from single to double speed. This is very important for
combining the second and third speed. Hatuti 6 reveals a very beautiful melody as soon
as you come to double speed. Listen to the CD and try to make the Mrdanga speak.
 HA 5 (Single speed) {#khi guru gur #dad dhin (#tete

tete #kheta tak)§}§
(Double speed) (#dere dere ghena nak #tere tere
kheta tak)§
(Tehai) (#dere dere ghena nak #tere tere kheta
tak/#jha)§
Translation khi Left closed
guru gur (as usual)
dad dhin (as in HA 3, page 20)
tete tete (like tere tere)
khe Left closed
ta Right 3 open
tak Right 1 up (strong sound)
dere (as in HA 3)
ghe Left open (stronger than both de in dere)
na Right 3 open
nak (like tak above)
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
hatuti. Also, play the jha strongly, since it is the last note of the tehai.
 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.
 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
Translation dad dhin dere geda, tere tere kheta takhi tere kheta (as in HA 3, page 20)
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)
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 hatuti prepares your hand for the third speed and for later tehai.
 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)§
re Right 3 closed
te Right 1 closed
te Right 3 closed
dhat Left open + Right 4 closed (the second dhat is slightly
stronger)
kheta kheta gade ghine~ (like in TEH 5, page 27)
How to practice  Look at the rhythm of the tehai of this hatuti: The jha takes only one fourth
of the part before, instead of one half as by usual tehai. Thus, this tehai
takes 14 matra instead of 16. It is a different tala.
 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 hatuti since it gives you the
basic technique required for many kìrtana and bhajana beats.
More Tehai
Tehai 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 Right 4 open
klan Both hands 4 open on the small head—strong sound
(See page xxx for a detailed explanation of this stroke.)
ta Right 4 open
jha (as usual)
The next two tehai are twice as long as those above, or as long as one arati beat. They
are played from Rama Rama, as shown thereafter.
 TEH 5 (#tere kheta #gade ghine/#dheiya)§

 TEH 6 (#da da #gade ghine/#jha guru gur)§
ga Left open
de Right 4 closed (very strong sound—this note bears the melody)
ghi Left open
ne Right 4 open
dhei (like jha)
ya Right 4 open
da da Left open + Right 4 closed (2 times)
gade ghine (as above)
How to practice  Count the rhythm. The first two repetitions take three matra each and the
last one two matra, thus eight matra altogether.
 First, practice these mantras separately until you are familiar with them.
Then try to play them together with arati beat, while singing Hare Kròøa.
Follow the advice below and listen to the CD.
How to Play Tehai with the Same Length as the Arati Beat
Since the Hare Kròøa maha-mantra takes four arati beats altogether, you have to start
with such tehai after having played three arati 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 tehai after the third khik khi neda gida gida. Look at the following example
(using again the standard melody of mangala-arati):
'
Ha- re Kr- òøa
'te Ä#ta '
'te #ta '
#khik '_khi #ne 'da #gi 'da #gi 'da #tere 'kheta #gade
'ghine #dhei 'ya #tere 'kheta
#gade 'ghine #dhei 'ya #tere 'kheta #gade 'ghine

Ha- re Ha- re Ha- re Kr- 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 matra dashes instead of four.
K3 #da ghi tete #take dhena

Translation da Left open + Right 1 open
ghi Left open (stronger)
te Right 3 closed
te Left closed + Right 1 open
ta Right 1 open
dhe Left open + Right 3 closed (left hand strong)
na 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 matra: The third speed fits four times in one arati beat. Thus, in
order to complete one Hare Kròøa maha-mantra, you have to play 14 times
third speed and one short tehai.
 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-sadhana
and hatuti! Especially hatuti 1 will give you the power to manifest the third
speed.
Ninth Month
Practice Time
More Hatuti and Tehai

In this month, you should mainly concentrate on learning the third speed and practicing
the new tehai—some of them are twice as long as the arati beat. The following two
hatuti prepare you for these tehai. Hatuti 7 is a longer version of HA 3 (page 20). 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 dere geda
The next hatuti prepares your hand for tehai number 10.
 HA 9 #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)§
Translation kot Left closed
te Right 3 closed
te Right 1 closed
ge Left open (not strong)
ghe Left open (strong)
ko Left closed
ta Right 4 open
dha (like jha)
klan ta (as in TEH 4, page 27)
tete kota gade ghine (like tere kheta gade ghine in TEH 5, page 27)
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.
Tehai 7 and 8 have the length of one full arati beat. Thus, play them like TEH 5 and 6,
starting from Rama Rama.
 TEH 7 (#kheta tak #gade ghine/#dheiya)§

 TEH 8 (#jhete tete #geghe tete/#jha kot)§
Translation kheta (as usual)
gade ghine dheiya (as in TEH 5, page 27)
jhe Left open + Right 3 closed
te Right 1 closed
te Right 3 closed
te Right 1 closed
geghe (as in HA 8 above)
tete (as before)
jha (as usual)
kot 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 tehai separately first, while speaking the mantra.
When you have become familiar with them, try to apply them by singing
Hare Kròøa and playing arati beat. Also, practice hatuti 1 and HS 5 and 6.
The next two tehai have double length of the arati 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)§
Translation tete tete (as in TEH 8 above)
kheta (as usual)
ta Right 4 open
ti Right 3 closed
now Right 1 open (double length of ti)
na Right 1 open
kheta ta (as before)
dhow (like jha)
kheta (as usual)
dha (like jha)
ra Right 4 open
dhar (like jha)
ta Right 4 open
da guru gur (as usual)
dhin (like jha—strong)
ta Right 4 open
jha (as usual)
How to practice  This mantra has a special rhythm. If you divide one matra 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 tehai. Carefully listen to the CD to grasp the beat. Before playing,
speak the mantra while clapping the matra with the hands. This helps you
to get a feeling for the beat.
The next tehai needs no translation. The first double line you just learnt in hatuti 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 Tehai with Double Length of Arati Beat

Here, you have to start with the tehai from Hare Rama, 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 mangala-arati):

'
Ha- re Kr- òøa
'te #ta '
#khik '_khi #ne 'da #gi 'da #gi 'da #kot 'tete #geghe
'tete #kota 'kota #geghe 'tete
##kot 'tete #geghe 'tete #kota 'kota #geghe 'tete

#tere 'kheta #gade 'ghine #dhei 'ya #tere 'kheta
#gade 'ghine #dhei 'ya #tere 'kheta #gade 'ghine

Ha- re Ha- re Ha- re . . .
Decoration Mantras for Second and Third Speed

Usually, the second and third speed are played together. You can play, for example, Hare
Kròøa in second speed and Hare Rama in third speed, or you play second speed on the
singer's part (one full maha-mantra) and enter the third speed when the audience
replies. As with the arati beat, you have to play tehai at the end of each Hare Kròøa
maha-mantra or at the end of each line of the song if you sing arati. How this is done will
be described in detail in the next month's lesson.
However, between second and third speed you cannot play tehai. Else you would break
the dynamic of the rhythm, because tehai means “end of one line”. Here, we need other
mantras which are called dvara, the Bengali word for “gate”. These mantras are the gate
from single to souble speed. The most common dvara are:
D1 #take ta#ke tak
D2 #tak tak #tak tak #take ta#ke tak
D3 #tak tak #tak tak #tak tak ta#k ta tak
D4 #take ta#ke tak #tak tak ta#k ta tak
D5 #dhin ta#ke dhin #take ta#ke tak
D6 #dhin tak#_ tak#_ tak#_ tak
#take ta#ke #tak #tak tak ta#k ta tak
Translation ta, tak Left closed + Right 4 open
ke Right 4 open
dhin (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
matra into 4 parts):
 First half of D 2: #tak ' 'tak ' #tak ' 'tak

'
 Second half of D 2: #ta ' 'ke 'ta # 'ke 'tak '
 Second half of D 3: #tak 'tak ' 'tak # 'ta 'tak
'
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 matra into 3 parts):
 First half of D 5: #dhin ' 'ta #ke 'dhin '

For showing the last dvara, we divide each matra 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 matra 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 Kròøa.
How to Enter Third Speed from Second Speed
Here is one example (again using the standard melody of mangala-arati), with second
speed on Hare Kròøa and third Speed on Hare Rama. Between both, we play D 2. At the
end we use a short tehai and go back to the second speed:
#da 'ghi #te 'te #ta 'ke #dhe

'na
Ha- re Kr- òøa
##da 'ghi #te 'te #ta 'ke #dhe 'na ##da 'ghi #te 'te #ta
'ke #dhe 'na
#tak 'tak #tak 'tak #ta 'ke ta # ke 'tak #daghi 'tete

#take 'dhena #daghi 'tete #take 'dhena
#daghi 'tete #take 'dhena #daghi 'tete #take 'dhena

##daghi 'tete #take 'dhena #daghi 'tete #take
'dhena
#tere 'kheta #jha 'tere #kheta 'jha #tere 'kheta

#da 'ghi #te 'te #ta 'ke #dhe 'na
Ha- re Ha- re Ha- re . . .
The other dvara 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
Kròøa Kròøa—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-Nitai”, “Jaya
Prabhupada”, and so on—you need some special mantras. The most common ones are
as follows:
X1 #dhei da dhei #ta kheta kheta

Translation dhei Left open + Right 4 open (strong sound)
da (like dhei, but less strong)
dhei (as above)
ta Right 4 open
kheta (as usual)
How to practice  Note that the two kheta are played differently: As illustrated below, ta kheta
has three beats on one half matra, played as triplet, whereas in the last
kheta there are only two beats on one half matra. Thus, it is slower than the
first one. Listen to the CD to get the rhythm.
#dhei 'da dhei #ta kheta 'kheta

X2 #dheiya ta kheta #tak dhena kheta
Translation dheiya (as in TEH 5, page 27)
ta kheta (as in X 1 above)
tak Right 4 closed (strong sound—this note bears the melody)
dhe (like jha)
na Right 4 open
kheta (as usual)
How to practice  This is a triplet beat, as illustrated below:
#dhei ' 'ya 'ta 'khe 'ta #tak '

'dhe 'na 'khe 'ta
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-Sadhana
This mantra prepares your hand for an important technique which will later find its way
in many hatuti and tehai.
 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
Translation ghene ne, ghene nere ghena,
khene ne, khene nere knena (as in HS 4, page 9)
How to practice  The combinations ghene ne ghene ne and khene ne khene ne are
important. They will appear in many different hatuti 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).
More Hatuti
Here are three additional hatuti 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
Translation ghene nere ghena,
khene nere khena,
tak, tere kheta (as in HS 10 above)
tete te (like tereti in HA 3, page 20)
How to practice  Now you will see the value of the above hasta-sadhana HS 10. As in other
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 hatuti.
 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
Translation nin Right 1 up
ta Right 4 open
khi Left closed
khene nere khena (as usual)
now Right 4 open
tak Right 4 closed (strong sound, as usual)
nin (as above)
da ghi (as usual)
dere ghena (like dere gere in HA 2, page 19)
ghene nere ghena (as usual)
now (as above)
dag Left open + Right 4 closed (strong, like tak above)
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)§
Translation gheneta (like ghene ne in HA 9 above)
kheteta (like khene ne in HA 9)
teteta (like tete te in HA 9)
kheta (as usual)
ghe Left open
ta Right 4 open
ta Right 4 open
guru gur da (as usual)
ghina (like ghena)
te Right 3 closed
te Right 1 closed
ta ta Right 4 open (2 times)
kheta (as usual)
dhe Left open + Right 4 open
na Right 4 open
kheta (as usual)
How to practice  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 Hatuti Together

Until now, you practiced each hatuti seperately for (hopefully) one hour at least. Now you
can start to play several hatuti 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 tehai 1, including all the decorations as you have learnt before.
 After you have played tehai 1 three or four times, thereby gradually increasing the
speed, play the common mantra D 0 in single speed. That means, after the hatuti you
get slow again. Then go to any other hatuti without space.
 As before, play that hatuti 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 hatuti. In this way
continue for one hour without interruption.
More Tehai
Tehai 12 is a variation of tehai 11. Practice them together. Since both have double length
of the arati beat, they start at Hare Rama, 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)§
 TEH 12 #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
Translation kot tete geghe tete,
kota geghe (as in TEH 10, page 31)
ne Right 1 open
ta Right 3 open
kheta (as usual)
ta klanta (as in TEH 4, page 27—but note the space after ta)
tete kota gade ghine (like tere kheta gade ghine in TEH 5, page 27)
khi Left closed (strong)
guru gur (as usual)
da da (like jha—2 times)
jha (as usual—stronger than da da)
tete (as above)
tri (like tere, but fast, on one beat)
khi Left closed + Right 4 open (different than usual khi!)
tak Right 4 closed (very strong)
jha (as usual)
How to practice  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 tehai from
Hare Hare.
 As before, practice these tehai separately first, then add them to your
kìrtana repertoire, by singing with them.
Mantras for Ending the Kìrtana

After singing “Jaya Prabhupada” and “Jaya Gaura-Nitai” 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 #dhei tat da #ta khi tat da #ta khi tat da

#gida gida
Translation dhei (like jha)
tat Right 4 closed
da Left hand with palm + Right 4 open
ta Right 4 open
khi Left closed
gi Left 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 #jha_ #dheita dh#eita dhei guru gur #da da

da/*#khi
Translation jha (as usual)
dhei (like jha, but strong)
ta Right 4 open
guru gur (as usual)
da da da (like jha 3 times—not strong)
khi 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 matra 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 Prabhupada”, “Jaya Gaura-Nitai”, 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 Prabhupada” 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 Kròøa, 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:
Ja- ya
###dhei ' 'da 'dhei #ta 'khe 'ta 'khe 'ta ##dhei ' 'da
'dhei #ta 'khe 'ta ''khe 'ta
Pra- bhu- pa- da Ja- ya Pra- bhu- pa- da Ja- ya
##dhei ' 'da 'dhei #ta 'khe 'ta 'khe 'ta ##dhei ' 'da
'dhei #ta 'khe 'ta ''khe 'ta
Pra- bhu- pa- da Ja- ya Pra- bhu- pa- da Pra- bhu-
#dhei' 'ya'ta 'khe 'ta #tak ' 'dhe 'na 'khe 'ta #dhei' 'ya'ta
'khe 'ta #tak ' 'dhe 'na 'khe 'ta
pada Pra- bhu pada Pra- bhu-
##dhei' 'ya'ta 'khe 'ta #tak ' 'dhe 'na 'khe 'ta #dhei' 'ya'ta
'khe 'ta #tak ' 'dhe 'na 'khe 'ta
pada Ja- ya Ja- ya Pra- bhu pada Ja- ya Ja- ya Pra- bhu-
#dhei ' 'tat 'da #ta 'khi 'tat 'da #ta 'khi 'tat 'da #gi 'da 'gi
'da
'da
pada Ja- ya Ja- ya Pra- bhu pada Ja- ya Ja- ya Pra- bhu-
#dhei ' 'tat 'da #ta 'khi 'tat 'da #ta 'khi 'tat 'da #jha '
' '
#dhei ' 'ta 'dhei # 'ta 'dhei 'guru gur #da 'da 'da
#khi
pada Ja- ya Ja- ya Pra- bhu pada.
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 “Prabhupada”, for example by singing
again “Hare Kròøa” slowly, playing arati 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 arati beat. Consequently, the beat starts one matra
earlier—instead of the last “da” of “Prabhupada” the singer has to start already with
“Hare Kròøa”. Else, there would be one matra space and the drive would be lost. Look at
the following scheme:
Pra- bhu-
' '
#dhei ' 'ta 'dhei # 'ta 'dhei 'guru gur #da 'da
'da
pada Ja- ya Ja- ya Pra- bhu pada.
#dhei ' #ta 'uru #te 'te #ta ' #khik '_khi #ne 'da #gi
'da #gi 'da
Ha- re Kr- òøa Ha- re Kr- òøa
The same happens if you continue with the third speed, as will be shown later in the
Tulasì-púja.
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 #dhena gighi #tat dhei ta #thena gighi #tat

dhei ta
na Right 1 open
gighi (like geghe in TEH 10, page 31)
tat Right 3 closed
dhei Left open + Right 1 open
ta Right 1 open
the 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-arati—the system is as follows: When the singer sings
the first line (kiba jaya jaya gaura-candera aratika-åobha), you play first speed and
tehai when the audience responds. You can use tehai which have half, single or
double length of the arati beat. If the first line is repeated, you play in the same way,
but you should use another tehai.
When the singer sings the second line (jahnavì-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: 1. Speed
– Audience: 1. Speed with Tehai
– Singer: 1. Speed
– Audience: 1. Speed with Tehai
Second Line – 2. 2. 3. 3. Speed
Singer: 2. Speed Speed Speed Speed 4. Speed
– Audience: 3. 3. 3. 3. 3. Speed
Speed Speed Speed Speed 4. Speed
– Singer: 2. 3. 3. 3.
Speed Speed Speed Speed
– Audience: 3. 3. 4. 4.
Speed Speed Speed Speed
How to use tehai and dvara (decoration) with second, third and fourth speed will be
explained further below.
 If you sing the Hare Kròøa maha-mantra, you play first speed continuously as long as
the kìrtana is soft and slow. Apply all the tehai 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 tehai in four different kinds of length. You can use those which are:
 half as long as the arati beat (starting on Hare Hare) with 1., 2., 3., and 4
Speed,
 one time as long as the arati beat (starting on Rama Rama) with 1., 2., and 3.
Speed,
 twice as long as the arati beat (starting on Hare Rama) with 1. and 2. Speed,
and
 four times as long as the arati beat
(starting on Hare Kròøa) with 1. Speed only.
The last kind of tehai we did not introduce yet. They cover the whole Hare Kròøa
maha-mantra.
2. Entering a Higher Speed
 From first speed (arati beat) you go to the second speed after having finished one
full Hare Kròøa maha-mantra with tehai. However, you can enter third speed from
second speed or fourth speed from third speed either at the beginning of the maha-
mantra (on Hare Kròøa) or in the middle (on Hare Rama).
 From second speed you enter third speed by playing dvara (decoration), as shown in
the last section.
 In some cases you jump directly from first speed to third speed. One example is the
Tulasì púja, as shown in the next month's chapter. In this case you first have to finish
the first speed with tehai and then play dvara immediately after the tehai, in the
same way as when you come from the second speed. Dvara is the “gate” to the third
speed—whenever you change to third speed you have to play dvara before. In other
words, after having played tehai at the end of one maha-mantra, you begin the next
maha-mantra with dvara and then play third speed. For example:
(on Hare Rama) dhei ta uru tete ta
khik khi neda gida gida
(on Rama Rama) dhei ta uru tete ta
(on Hare Hare) tere kheta jha tere kheta jha tere kheta
(on Hare Kròøa) 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 tehai nor dvara. Rather, you shift
from third speed to fourth speed without space:
(on Hare Rama) daghi tete take dhena daghi tete take dhena
daghi tete take dhena daghi tete take dhena
(on Rama Rama) daghi tete take dhena daghi tete take dhena
(on Hare Hare) daghi tete take dhena daghi tete take dhena
(on Hare Kròøa) dhene gighi tat dhei ta thene gighi tat dhei ta~
3. Playing One Speed Continuously
 As long as you stay in the first speed (arati beat), play tehai at the end of each
maha-mantra. The same applies to the second speed, with the only difference that
you cannot use long tehai starting on Hare Kròøa, as shown in the list above.
 If you stay in the third speed continuously, play dvara at the end of the maha-
mantra and again third speed. For example:
(on Rama Rama) daghi tete take dhena daghi tete take dhena
(on Hare Hare) tak tak tak tak take take tak
(on Hare Kròøa) daghi tete take dhena daghi tete take dhena~
If the kìrtana gets very dynamic, you can play both tehai (at the end of one maha-
mantra) and dvara immediately afterwards (starting with the next maha-mantra). As
explained before, you can use the first two kinds of tehai (starting on Rama Rama or
on Hare Hare). For example:
(on Rama Rama) tere kheta gade ghine dheiya tere kheta
(on Hare Hare) gade ghine dheiya tere kheta gade ghine
daghi tete take dhena daghi tete take dhena~
 Normally, you don't play fourth speed longer than one maha-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 maha-mantra. In that
case, you play neither dvara nor tehai, just continue with fourth speed. As soon as
you play tehai 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-arati). Here, you can play fourth speed only
on the audience's part, because you have to end each line of the song with tehai.
4. Going Back to a Lower Speed
 You can go back to a lower speed only at the end of the Hare Kròøa maha-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 tehai. As said
before, you can play tehai starting on Rama Rama or on Hare Hare.
 After fourth speed, you have to play short tehai, starting on Hare Hare. If you are
singing the maha-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 dvara immediately
after tehai. An example for the last choice is:
(on Hare Rama) dhene gighi tat dhei ta thene gighi tat dhei ta
dhene gighi tat dhei ta thene gighi tat dhei ta
(on Rama Rama) dhene gighi tat dhei ta thene gighi tat dhei ta
(on Hare Hare) tere kheta jha tere kheta jha tere kheta
da gi tete take dhena da gi tete take dhena~
5. Summary
The following pattern summarizes the different possibilities while singing the Hare
Kròøa maha-mantra:
1. Speed = Tehai 1. Speed ...
Tehai
1. Speed = 2. Speed = Tehai 2. Speed. . .
Tehai
1. Speed = 2. Speed = Dvara 3. Speed = Tehai 2.
Speed. . .
1. Speed = Tehai 2. Speed = Dvara 3. Speed = Dvara 3.
Speed . . .
1. Speed = Tehai 2. Speed = Dvara 3. Speed = Tehai =
Dvara
3. Speed . . .
1. Speed = Tehai 2. Speed = Dvara 3. Speed = 4. Speed
Tehai
= 2. Speed . . .
1. Speed = Tehai 2. Speed = Dvara 3. Speed = 4. Speed
Tehai Dvara
= = 3. Speed . . .
Tehai
1. Speed = = Dvara 3. Speed . . .
2. Speed = Tehai 2. Speed. . .
2. Speed = Dvara 3. Speed = Tehai 2. Speed. . .
2. Speed = Dvara 3. Speed = Dvara
3. Speed . . .
2. Speed = Dvara 3. Speed = Tehai
= Dvara 3. Speed . . .
2. Speed = Dvara 3. Speed = 4. Speed = Tehai
2. Speed . . .
2. Speed = Dvara 3. Speed = 4. Speed = Tehai
= Dvara 3.
Speed . . .
3. Speed = Dvara 3. Speed . . .
Tehai
3. Speed = = Dvara 3. Speed . . .
3. Speed = 4. Speed = Tehai 2. Speed . . .
Tehai
3. Speed = 4. Speed = = Dvara 3. Speed . . .
3. Speed = 4. Speed = 4. Speed = Tehai 2. Speed . . .
3. Speed = 4. Speed = 4. Speed = Tehai = Dvara 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 maha-mantra, start by playing the arati beat with the different short and long
tehai 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 arati 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 Hatuti
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
#tere kheta tere tere #kheta takhi tere kheta
Translation dha (like jha)
dhe Left open + Right 1 closed
ne Right 3 closed
na Right 1 up
dad dhin tere tere~ (as usual)
The next hatuti 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)§
Translation kot Left closed
ta Right 4 open
ghe Left open
ne Right 3 open
re Right 1 open
ko Left closed
kot (as before)
te Right 3 closed
te Right 1 closed
tete (same again)
gri Left open + (Right like tri in TEH 12, page 37)
ghi Left open (stronger than gri)
tete tete kotak~ (as before)
kota (as before)
thun thun Left closed + Right 4 open (2 times)
trithun (as trikhi in TEH 12)
na Right 4 open
khi khi Left closed (2 times)
tete (as above)
khi Left closed
guru gur (as usual)
da ghi (as usual)
ne Right 4 open
jha (as usual)
How to practice  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 Tehai
Here are three more long tehai, starting from Hare Rama. Tehai 13 is extremely
important for harinama-sankìrtana. It is very powerful and also useful for training your
hand. Tehai 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
 TEH 14 #dhere tete #da ghi tete #dhere ta khi #tere
kheta
#gade ghine #ta ki ti jha#uti jha #tere kheta
Translation dhere tete (like in HA 7, page 26)
da (like jha)
tete dhere (as above)
ta Right 4 open
khi Left closed
tere kheta gade ghine (as usual)
ta Right 4 open
khi Left closed
ti Right 4 open
jha Left open + Right 3 closed
u Right 1 closed
ti Right 3 closed
jha (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-sadhana or hatuti, 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 (#da da #gade ghine #da da #gade

ghine/#jha #_trekhet)§
Translation da da (like jha 2 times)
gade ghine jha (as usual)
tre (like tri)
khet 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 matra, 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 Rama Rama. As
with the two mantras above, try to come to that level.
Another Special Mantra

This mantra is played in Gaura-arati when you interrupt the melody and sing jaga jana
mano lobha or åankha baje gaøóha baje. Listen to the tape how to accompany the singer
with this beat.
X5 #dhei ta thei #tak ta thei #tak ta thei #tak da

da da
Translation dhei Left open + Right 4 open
ta Right 4 open
thei Left closed + Right 4 open
da da da (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 gaurangera aratika åobha, you play dheiya ta
kheta tak dhena kheta and so on. When he returns to the normal melody,
continue with the arati beat.
Playing Tehai in Double Speed

We have compared the basic speeds to rice and the different tehai to the various sabjì
preperations that make the kìrtana tasty. However, the actual “spice” is added if you can
play tehai 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 Mrdanga. 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 Mrdanga. Moreover,
in the next chapter you will meet with tehai to be played in double speed only. So be
prepared for that.
Now you will learn how to play a tehai 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 Rama, you play tehai in single speed, as usually. When
the audience sings Hare Rama, you play the same tehai 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 maha-mantra, like before. This looks as follows:
(First kot tete geghe tete~ in single speed as usual, then:)

Ha- re Kr- òøa
#khik '_khi #ne 'da #gi 'da #gi 'da

Ha- re Kr- òøa

Kr- òøa Kr- òøa

Ha- re Ha- re
#kot tete 'geghe tete #kota kota 'geghe tete kot

tete 'geghe tete #kota kota 'geghe tete
Ha- re Ra- ma
##tere kheta 'gade ghine #dheiya 'tere kheta #gade

ghine 'dheiya #tere kheta 'gade ghine
Ha- re Ra- ma
##kot tete 'geghe tete #kota kota 'geghe tete kot

tete 'geghe tete #kota kota 'geghe tete
Ra- ma Ra- ma
###tere kheta 'gade ghine #dheiya 'tere kheta #gade

Ha- re Ha- re

Ha- re Kr- òøa . . .
(Now dhere tete dhere tete daghi tete~ in single speed, then:)
Ha- re Kr- òøa

Ha- re Kr- òøa

Kr- òøa Kr- òøa

Ha- re Ha- re
#dhere tete 'dhere tete #daghi tete dhere daghi

tere kheta 'gade ghine #taki ti jha 'uti jha
Ha- re Ra- ma
##tere kheta 'gade ghine #dheiya 'tere kheta #gade

Ha- re Ra- ma
#dhere tete 'dhere tete #daghi tete dhere daghi

tere kheta 'gade ghine #taki ti jha 'uti jha
Ra- ma Ra- ma
###tere kheta 'gade ghine #dheiya 'tere kheta #gade

Ha- re Ha- re

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

Ha- re Ra- ma

Ra- ma Ra- ma
#kheta kheta 'jha kheta #kheta jha 'kheta kheta

#kheta kheta 'jha kheta #kheta jha 'kheta
kheta
Ha- re Ha- re

Practice by playing continuously only the tehai, once in single speed and twice in double
speed:
#kheta 'kheta #jha 'kheta #kheta 'jha #kheta 'kheta
#kheta kheta 'jha kheta #kheta jha 'kheta kheta
#kheta kheta 'jha kheta #kheta jha 'kheta
kheta
Or with any other tehai:

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

#kheta 'guru gur #jha 'kheta #guru gur 'jha
#kheta 'guru gur
#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 tehai:

#da 'da #gade 'ghine #jha 'guru gur #da 'da
#gade 'ghine #jha 'guru gur #da 'da #gade
'ghine
#da da 'gade ghine #jha guru gur 'da da #gade ghine 'jha
guru gur #da da 'gade ghine
#da da 'gade ghine #jha guru gur 'da da #gade ghine 'jha
guru gur #da da 'gade ghine
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-sadhana.
Once your hand gets ready to play real double speed, you can apply the same principle
to your daily practice of hasta-sadhana and hatuti. 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
sadhana 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 Hatuti
This mantra has a nice melody. It helps you to concentrate on the rhythm and to learn to
produce a sweet sound on the Mrdanga.
 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)§
Translation dhi Left open + Right 3 closed
ni Right 1 closed
ta Right 3 closed
ni Right 3 closed
ni Right 3 closed
dhini (same again)
ti Right 3 closed
ni Right 1 closed
tini tini (same again)
da dhini dhini (as above)
ghene ta ghene ta khete ta ghene ta,
kheta ghena kheta (as in HA 12, page 36)
da (like jha)
ghi Left open
ne Right 1 up
ta Right 4 open
kheta (as usual)
tak tak tak Right 4 closed (3 times)
takta (like klanta in TEH 4, page 27)
da ghi (as before)
ne Right 4 open
How to practice  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 ' 'ta #da 'ghi
'ne
The next mantra makes your right hand very fast. It is a double speed mantra—look at
the matra 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
#ta ta ta #tere tere tere tere #kheta takhi tere
kheta
#dad dhin dere geda
Translation jha jha jha (as usual)
tere tere kheta takhi tere kheta (as in HA 3, page 20)
ta ta ta Right 4 open (3 times)
dad dhin dere geda jha (as in HA 3)
How to practice  Look at the rhythm: jha jha jha and ta ta ta are played inthe same way as
dad dhei ta in hatuti 1. That means, if you divide the matra 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 tehai in kìrtana
(like tere kheta/jha). Look at the matra 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.
More Tehai
The next tehai is very dynamic. Use it for fired-up kìrtana like gaura-arati. It starts at
Hare Rama.
 TEH 16 #tata tata #kata kata #ghu ghu #rata rata

#dhapata dha#pata dhani #dhakagra #bajata
(#da guru gur dh#in_ ta dhin/#jha)§
Translation ta Right 3 closed
ta Right 1 closed
tata (same again)
kata kata (like kheta kheta)
ghu ghu Left open (2 times)
ra Right 1 closed
ta Right 3 closed
rata (same again)
dha Left open + Right 3 closed
pa Right 1 closed
ta Right 3 open
dhapata (same again)
ni Right 3 open
ka Left closed (strong)
gra Right 4 open
ba (like jha)
ja Left open
ta Right 4 open
da guru gur dhin ta dhin jha (as in TEH 9, page 30)
How to practice  Look at the rhythm: In dhapata dhapata dhani, each note takes one fourth
of the matra. 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 tehai 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 Mrdanga beats—you should practice
them steadily, like hasta-sadhana, until your hand gets ready.
At least in slow kìrtana you will be able to apply tehai 17. It starts at Hare Rama. 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)§
Translation dha (like jha—strong, but not too strong)
ta Right 1 up
dre Left open + (Right like tri in TEH 12, page 37)
ge (like jha)
dhe Left open + Right 1 closed
ne Right 3 open
da Left open + Right 1 up
dhi (as before)
na Right 3 open
dhi drege dhene (as before)
ta Right 4 open (strong, but not too strong)
ta Right 1 up
thi Left closed + Right 1 closed
trekhe (like trikhi)
the (like thi before)
ne Right 3 open
ta Right 1 up
thi (as before)
na Right 3 open
thi trekhe thene (as before)
da Left open + Right 1 up
dhin Left open + Right 1 closed
da (like jha—strong, but not too strong)
drege dhene (as before)
jha kot (as in TEH 8, page 30)
How to practice  The first note in both the first and second line take each half of the matra;
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-sadhana. Later, when
you enter the realm of bhajana beats, you will greatly benefit from this
effort.
The next two tehai are real double speed beats. Look at the matra dashes: tere kheta
gade ghine dheiya is as long as a short tehai, which means half as long as TEH 5. Also,
tere kheta jha has to be played twice as fast as in the original tehai (TEH 2).
Tehai 18 (starting on Rama Rama) is the shorter version of tehai 19 which starts on
Hare Rama. 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
 TEH 19 #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
Translation dhauti (like jhauti in TEH 13, page 46)
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 20)
tauti (like dhauti, but only right hand plays)
tere kheta jha (as TEH 2, page 23, but double speed)
tere kheta gade ghine dheiya (as TEH 5, page 27, but double speed)
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 tehai 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 tehai 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
#jha tere tere kheta tak #tere tere kheta tak
tere kheta
Translation dhe Left open + Right 1 up
ne Right 1 closed
ne Right 3 open
te te te (like dhene ne before, but only the right hand plays)
dhene (as before)
ta Right 1 up
khuru khur (khenere khena—like guru gur, but left hand closed instead of
open)
ta Right 1 up
the Left closed + Right 1 closed
ne Right 3 open
dhin Left open + Right 3 open
ta Right 1 open
dhi (like dhin above, but half of its length)
na (like ta above, but double length)
jha (as usual)
tere tere kheta (as usual)
How to practice  Look at the rhythm. Each matra 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 ' 'ta 'dhi'na '_

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

'tere 'kheta 'tak'tere 'kheta
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 Prabhupada” etc. When
the kìrtana is really fast, the singer usually makes a break and continues slowly: “Ja - - -
ya — Pra-pu-pa-da . . .”. In that case, you play the two following mantras:
X6 #ja ja jhe#na jhena #ja jhena #jhenow_

#ta ta the#na thena #ta thena #thenow_
X7 #ja jhena #jhenow_
#ta thena #thenow_
Translation ja (like jha)
jhe (like ja, but strong)
na Right 4 open
now (same, but double length)
ta Right 4 open
the Left closed + Right 4 open (strong)
na, now (as before)
How to Play “Jaya Prabhupada” Slowly

When the singer interrupts the rhythm by singing a long “Ja - - - ya”, you stop playing.
On “Pra-bhu-pa-da” you continue with X 6 and then X 7 as follows:
Ja - — ya —
#ja 'ja 'jhe #na 'jhe 'na #ja 'jhe 'na #jhe 'now '
Pra- bhu- pa- da — Ja- ya
#ta 'ta 'the #na 'the 'na #ta 'the 'na #the 'now '
Pra- bhu- pa- da —
#ja 'ja 'jhe #na 'jhe 'na #ja 'jhe 'na #jhe 'now '
Pra- bhu- pa- da — Ja- ya
#ta 'ta 'the #na 'the 'na #ta 'the 'na #the 'now '
Pra- bhu- pa- da — Pra- bhu-
#ja 'jhe 'na #jhe 'now ' #ta 'the 'na #the
'now '
pada Pra- bhu-
'now '
pada Pra- bhu-
'now '
pada Ja- ya Ja- ya Pra- bhu-
'now '
pada Ja- ya Ja- ya Pra- bhu-
#ja 'jhe 'na ~
pada ~
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 Mrdanga 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-arati has already been explained on page 40, also how to play to the Hare
Kròøa maha-mantra. So here are some hints regarding the songs of the morning
program:
1. Mangala Arati
 Basically, you play like in gaura-arati. But since the mood during the brahma-
muhúrta is much more peaceful, you have to play more softly than in the evening.
Therefore, use short tehai 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 radhika-madhavayor apara), 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 maha-mantra part.
2. Nrsiõha-Stotram
 Play the first part (until nrsiõham adiõ åaraøaõ prapadye) in arati beat, with different
short and middle long tehai at the end of each second line.
 From tava-kara-kamala-vare until tanu-bhrngam, play second speed, with dvara at
the end so that you can enter the third speed on keåava-dhrta.
 Play third speed from keåava-dhrta until the end of the line and finish with a short
tehai.
 Repeat the same sequence on the audience's part, but use different dvara and tehai.
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-arati—you
can enter fourth speed on jaya jagadìåa hare. Return to second speed at the end of
the line, as before.
3. Tulasì-Púja
 Here is a nice system for this song:
1. Line – Singer (namo namo tulasi kròøa-preyasi namo namaæ) 1. Speed
– Audience Full-length Tehai1
2. Line – Singer (radha-kròøa-seva-pavo ei abilasì) 2. Speed, ending with
Dvara
– Audience 3. Speed, ending with
Tehai
Refrain – Singer (namo namo tulasi kròøa-preyasi namo namaæ) 3. Speed,
starting with Dvara
Tehai
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 (dìna kròøa-dase koya ei yena more hoya) X 1 (dhei ta dhei ta
kheta~)
– Audience X1
2. Line – Singer (årì-radha-govinda-preme sada yena bhaòi) X 2 (dheiya ta
kheta~)
– Audience X2
2. Line – Singer (årì-radha-govinda-preme sada yena bhaòi) X 3 (dhei tat da
ta khi~)
– Audience X 3, ending with X 4
Refrain – Singer (namo namo tulasi kròøa-preyasi namo namaæ) 3. Speed,
starting with Dvara
Tehai
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 dvara immediately
(compare to the standard way to end the kìrtana, page 39). In other words, you play:
'da
årì- radha- go- vi- nda- pre- me
'da
sada yena bha- òi
' '
årì- radha- go- vi- nda- pre- me
#dhei ' 'ta 'dhei # 'ta 'dhei 'guru gur #da 'da
'da
sada yena bha- òi.
#tak 'tak #tak 'tak #ta ke ' ta # ke 'tak #da ghi

'tete #take dhena #da ghi 'tete #take dhena
namo namo tu-
##da ghi 'tete #take dhena #da ghi 'tete #take

dhena #da ghi 'tete #take dhena #da ghi 'tete
#take dhena
la- si kr- òøa- pre- 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 – Singer (ye tomara åaraøa laya, tara vañca púrøa haya) 1. Speed
– Audience 1. Speed with Short
Tehai
1. Line – Singer 1. Speed
– Audience Full-length Tehai
2. Line – Singer (krpa kari' kara tare vrndavana-vasì) 2. Speed, ending with
Dvara
Tehai
2. Line – Singer 3. Speed, starting with
Dvara
Tehai
4. Guru-Púja
 This song has two melodies. Usually, the second melody starts with cakòudhana-dila
yei, but sometimes later, on årì-guru karuøa-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 mangala-arati (first line arati beat with tehai, 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-púja. 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 (ha ha prabhu kara daya deho more pada-chaya) 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 Kròøa,
because it follows the parampara. Try to become a better Mrdanga 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.
Kròøa and the devotees will be very thankful for this endeavor and you soon will
derive the fruit of your sincerity.
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-Sadhana
Number Chapter Page Mantra
HS 1 1 3 tere kheta
HS 2 1 3 tere kheta tere tere kheta
HS 3 1 3 tere kheta tere kheta tere tere tere kheta tikhi takhi tere kheta kheta takhi tere
kheta
HS 4 3 9 [gng] geda [knk] kheta
HS 5 4 14 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
HS 6 4 15 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
HS 7 5 18 [gng] geda [gng] [gng] [knk] kheta [knk] [knk]
HS 8 6 20 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
HS 9 7 22 dere geda [gng] [gng] nere ghena tere kheta [knk] [knk] nere khena
HS 10 10 35 ghene ne ghene ne [gng] nere ghena ghena tak tere kheta
khene ne khene ne [knk] nere khena khena tak tere kheta
2. Hatuti
HA 1 3 13 (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)§
HA 2 5 19 dere gere dere gere ([gng] now tere kheta)"([gng])§now tere kheta tikhi takhi
tere kheta
HA 3 6 20 dhereti dhereti dhere da ghi [ttkttk] tereti tereti tere takhi [ttkttk]
dad dhin [ttkttk] (dad dhin dere geda/jha)§
HA 4 7 22 ghene tere ghene tak (tere kheta ghene)"tere ghena tak tere (tere ghena)§
HA 5 8 25 {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)§
HA 6 8 26 (dad dhin dere geda)"dad dhin [ttkttk] (dere geda)"(jhete nete geda)"jha_
tete nete nete kheta khete nete nete kheta (dere geda)"
HA 7 8 26 (dhere tete dhere tete dhat dhat dhere tete)"(dhat dhere tete)"dhere tete
(kheta kheta gade ghine tere kheta gade ghine/jha)§
HA 8 9 29 (dhereti)$dhere dhere da ghi [ttkttk] (tereti)$ tere tere ta khi [ttkttk]
dad dhin [ttkttk] (dad dhin dere geda/jha)§
HA 9 9 29 (kot tete geghe tete kota kota geghe tete)"(kota geghe tete)"(geghe tete)§
(dha klan ta tete kota gade ghine/jha)§
HA 10 10 35 ([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
HA 11 10 36 (nin ta khi tere kheta)§[knk] now tak tere kheta [knk]
(nin da ghi dere ghena)§[gng] now dag dere ghena [gng]
HA 12 10 36 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)§
HA 13 11 45 dha dhene nake dhene dhene nake dhene dhene dad dhin [ttkttk] tere kheta
[ttkttk]
HA 14 11 45 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)§
HA 15 12 51 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)§
HA 16 12 52 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)§
3. Hatuti Decoration Beats

HD 0 5 18 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
HD 1 4 15 (tete tete kheta tak da ghi nake jha uru take take tete kheta da ghi nak uru)§
(da ghi nake/jha guru gur)§
HD 2 4 16 dhow kheta dheiya guru gur dhini dheiya tere kheta tak dhini dheiya (khi khi
tak/jha)§
HD 3 4 16 {(da guru gur dhena)§jha guru gur}§
takhi tata kheta tata kheta takhi ta guru gur dheiya ti neta kheta kheta takhi ta
HD 4 4 17 (dad dhin nak dhin nak dhin jha guru gur)§
dheiya ta kheta da ghi neta kheta kheta dheiya da dheiya
HD 5 4 17 (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
K1 6 21 khik _khi neda gida gida dhei ta uru tete ta
K2 7 24 da ghi tete take dhena
K3 8 28 da ghi tete take dhena
K4 10 40 dhena gighi tat dhei ta thena gighi tat dhei ta
5. Tehai
TEH 1 7 23 (kheta kheta/jha)§
TEH 2 7 23 (tere kheta/jha)§
TEH 3 7 23 (kheta guru gur/dhei)§
TEH 4 8 27 (ta klanta/jha)§
TEH 5 8 27 (tere kheta gade ghine/dheiya)§
TEH 6 8 27 (da da gade ghine/jha guru gur)§
TEH 7 9 30 (kheta tak gade ghine/dheiya)§
TEH 8 9 30 (jhete tete geghe tete/jha kot)§
TEH 9 9 30 tete tete kheta ta ti now na kheta ta dhow kheta dhara kheta dharta dharta dhar
(da guru gur dhin ta dhin/jha)§
TEH 10 9 31 (kot tete geghe tete kota kota geghe tete)"(tere kheta gade ghine/dheiya)§
TEH 11 10 37 kot tete geghe tete kota geghe neta kheta ta_ klanta tete kota gade ghine
(khi guru gur da da/jha)§
TEH 12 10 37 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)§
TEH 13 11 46 dhere tete dhere tete da ghi tete dhere ta khi tere kheta gade ghine ta ki ti
jhauti jha
(tere kheta gade ghine/dheiya)§
TEH 14 11 46 dhere tete da ghi tete dhere ta khi tere kheta gade ghine ta ki ti jhauti jha tere
kheta
(tere kheta gade ghine/dheiya)§
TEH 15 11 47 (da da gade ghine da da gade ghine/jha _trekhet)§
TEH 16 12 52 tata tata kata kata ghu ghu rata rata dhapata dhapata dhani dhakagra bajata
(da guru gur dhin_ ta dhin/jha)§
TEH 17 12 53 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)§
TEH 18 12 54 dhauti nitya kheta ta [ttkttk] (tere kheta gade ghine/dheiya)§
TEH 19 12 54 dhauti nitya kheta ta [ttkttk] tauti nitya kheta ta [ttkttk]
(tere kheta/jha)§ta [ttkttk] (tere kheta gade ghine/dheiya)§
TEH 20 12 55 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)"}"
6. Dvara
D1 9 32 take take tak
D2 9 32 tak tak tak tak take take tak
D3 9 32 tak tak tak tak tak tak tak ta tak
D4 9 32 take take tak tak tak tak ta tak
D5 9 32 dhin take dhin take take tak
D6 9 32 dhin tak_ tak_ tak_ tak take take tak tak tak tak ta tak
7. Special Beats
X1 9 33 dhei da dhei ta kheta kheta
X2 9 33 dheiya ta kheta tak dhena kheta
X3 10 38 dhei tat da ta khi tat da ta khi tat da gida gida
X4 10 38 jha_ dheita dheita dhei guru gur da da da/khi
X5 11 47 dhei ta thei tak ta thei tak ta thei tak da da da
X6 12 56 ja ja jhena jhena ja jhena jhenow_ ta ta thena thena ta thena thenow_
X7 12 56 ja jhena jhenow_ ta thena thenow_

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A Twelve Months

© 2000 Garanhati Publishers

Hatuti 1—The Maha-Mantra of the Mrdanga

 HA 1a #ghenere #ghena #jha #ghenere #ghena

#ghenere #ghena #jha #ghenere

 HA 1b (#dad dhei ta #guru gur da gur #da guru gur

Translation dad Left open + Right 4 closed

#dad ' ' 'dhei ' ' 'ta '

 HA 1-1 (#da guru gur da #guru gur da gur)&

 HS 4 #ghene nere #ghena geda

Hatuti 1—The Second Part

Hatuti 1—Decoration for the Second Part

#ghene nere ghena da

 HA 1f (#gher geda #guru gur guru gur

Hatuti 1—The Complete Second Part

 HA 1-TEH (#tere kheta #gi ghi nake/#jha guru gur)§

How to practice  Look at the notation. The scheme

 HA 1 (#da guru gur da #guru gur da gur)&

 HS 5 #khete tete tete kheta #khete tete kheta

 HD 1 (#tete tete #kheta tak #da ghi nake #jha uru

 HD 2 #dhow kheta #dheiya #guru gur dhini #dheiya

 HD 3 {(#da guru gur dhena)§ #jha guru gur}§

 HD 5 (#dad dhin #nak dhin #neda/#jha guru gur)§

Common Decoration Mantra for All Hatuti

 HD 0 #jha guru gur #dad dhena (#da guru gur da

 HS 7 #ghene nere #ghena geda #ghene nere

 HA 2 #dere gere #dere gere

 HS 8 #khete tete #kheta khete #tete kheta #tete

Hatuti Number Three

 HA 3 #dhereti dhe#reti dhere #da ghi tere tere

Arati Beat—Entrance into Kìrtana

K1 #khik _khi #neda #gida #gida #dhei #ta uru

More Hasta-Sadhana and Hatuti

 HS 9 #dere geda #ghene nere #ghena ghene #nere

How to practice  Meanwhile you should have understood the system:

 HA 4 #ghene tere #ghene tak #tere kheta #ghene

Tehai—Endings for Kìrtana Beats

How to Play the Basic Kìrtana Beat

#dhei ' #ta 'uru #te 'te #ta

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

The Second Speed

K2 #da ghi #tete #take #dhena

 HA 5 (Single speed) {#khi guru gur #dad dhin (#tete

 HA 7 #dhere tete #dhere tete #dhat dhat #dhere

 TEH 4 (ta klanta/jha)§ or #ta klanta #jha

 TEH 5 (#tere kheta #gade ghine/#dheiya)§

#gade 'ghine #dhei 'ya #tere 'kheta #gade 'ghine

The Third Speed

K3 #da ghi tete #take dhena

More Hatuti and Tehai

 HA 8 #dhereti dhe#reti dhere#ti dhereti #dhere

 HA 9 #kot tete geghe tete #kota kota geghe tete

 TEH 7 (#kheta tak #gade ghine/#dheiya)§

 TEH 9 #tete tete #kheta ta #ti now na #kheta ta

#dhar ' 'ta 'dhar # 'ta 'dhar '

 TEH 10 #kot tete #geghe tete #kota kota #geghe tete

How to Play Tehai with Double Length of Arati Beat

#dhei ' #ta 'uru #te 'te #ta

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

#gade 'ghine #dhei 'ya #tere 'kheta #gade 'ghine

Decoration Mantras for Second and Third Speed

 First half of D 2: #tak ' 'tak ' #tak ' 'tak

 First half of D 5: #dhin ' 'ta #ke 'dhin '

 First half of D 6: #dhin 'tak #_ 'tak #_ 'tak #_