Mrdanga Bablu Das

Introduction

The AuthorsIn 1967, Bãblu Dãsa was born in a small village in Godrumadvìpa,

one of the nine islands of Årì Navadvìpa Dhãma. His home was situated near Mãyãpura, beyond the Jalaùgì River. He was born in a Vaiòøava family, and his parents had taken initiation from a disciple of Årìla Bhaktisiddhãnta Sarasvatì Óhãkura. His father was also a renowned musician, who sang rãga and rãgiøì in pure Gauîìya Vaiòøava style.

As a young child, Bãblu showed his inclination toward the mëdaùga. He would grasp any item and hit it with his thumb and four fingers alternately—a technique known to mëdaùga players. When he was four years old, his mother gave him a small toy drum, which he carried and played constantly. Later she bought him a small clay mëdaùga. It became his constant companion. He would roam the streets of his village, looking for sãdhus performing kìrtana; then he would happily sit with them and accompany their singing.

When Bãblu was six years old his father began to teach him mëdaùga. However, being a learned singer, not a mëdaùga player, his father knew only the basic mantras. One day a bãbajì came to their house, performing his weekly madhukãrì (begging for alms). As he sat down to sing in front of the Deities, Bãblu sat beside him and played his small mëdaùga. The next day, the bãbajì came again. He said, “I am a musician, a mëdaùga player. I watched your son as he was playing yesterday. He is born to play mëdaùga. Please give him to me. For a long time I have been looking for a boy to whom I can give

� The Twelve-month Mëdaùga Course

all my knowledge, and your son is the right one. His heart beats only for the mëdaùga.”

Bãblu’s mother was shocked at the thought of giving her son away, but she knew her son’s inclination and dreamed of his musical career. When she heard that the bãbajì lived in Navadvìpa, just across the Gaùgã, she became a little reassured. Bãblu would stay close to home, and she would see him regularly. She insisted, “You have to take care of his education. He has to go to high school. Where will he end up if he only learns mëdaùga?”

The bãbajì assured her that he had no other intention. He replied, “The mëdaùga is like mathematics. It is an important subject, but a pupil has to learn more than math or he will be a fool. Bãblu has to study the Bengali language and many other subjects. Otherwise he will not be able to understand and apply the great treasure of our Gauîìya Vaiòøava culture.” Bãblu’s first guru was a bãbajì who lived in solitude, concentrating exclusively on his bhajana. Nevertheless he was highly educated and scholarly.

Upon hearing that the bãbajì was Rãdhãcaraøa dãsa Bãbajì Mahãrãja, one of the greatest musicians of his time and a very exalted and respected Vaiòøava, Bãblu’s parents understood that Këòøa had made this arrangement for their son. Happily they agreed to the sãdhu’s desire, and at the age of seven Bãblu moved to his guru’s home, where he lived for the next twelve years.

Bãblu carried out many menial services for his guru, including cooking, cleaning, and washing clothes, and Rãdhãcaraøa Mahãrãja gave Bãblu knowledge of mëdaùga playing with all his heart and soul. During these years, Bãblu also went to primary school, then to high

� Introductionschool, and finally to college. He studied classical Bengali in order to read and understand the countless Gauîìya Vaiòøava songs and philosophical books of the ãcãryas.

He had no time for childhood activities. Every morning he rose at three o’clock and practiced the mëdaùga until seven. Then he took bath, ate breakfast, and went to school. In the afternoon, his guru taught him for two hours, and often he practiced for two more hours. His daily quota was eight hours of practice, including class, seven days a week. In that way, he learned the vast knowledge of mëdaùga playing, and his hands became perfect.

At the age of twelve he joined a professional kìrtana band along with his guru. They traveled throughout India and played mëdaùga at programs nearly every evening. The experience was strenuous, yet instructive. Rãdhãcaraøa Mahãrãja showed him all the details of playing in kìrtana and trained him vigorously to work towards perfection.

When Bãblu was fourteen, he started to teach mëdaùga at the ISKCON Gurukula in Mãyãpura. At the same time, he continued his education at high school and played mëdaùga at programs in the evenings. He entered mëdaùga competitions, and gradually he gained recognition for his excellence.

At the age of nineteen his guru told him, “You cannot learn more from me, but you have to go on. You are not yet perfect. I will find another teacher for you who can give you more.” Bãblu moved back to his parents’ home and began to learn from his second guru, Jagadbandhu Ustad.


His mother was a great supporter of his career. Every morning at three o’clock she woke him up. As before, he practiced the mëdaùga continuously until seven, took bath, and then ate breakfast. He had to complete his four hours of practice before his mother would go in the kitchen and cook for him. Three days a week he traveled to Calcutta, where he studied classical Bengali at the Bengali Samsad School. Every afternoon he attended a two-hour class with his new guru. His mother encouraged him and insisted that he keep to his eight-hour practice schedule.

As his employment at the ISKCON Gurukula became increasingly full time, he gave up his career as a professional musician. His mission was to preserve and transmit the knowledge he had inherited from his teachers by training willing and eager young students. He trained a Gurukula kìrtana band that regularly took part in successful programs, including the yearly Calcutta Ratha-yãtrã festivals. Through his engagement in ISKCON and his contacts with Western devotees, he hoped to assist in revealing to the world the vast treasure of the Gauîìya Vaiòøava culture.

At the same time he continued his personal education. After five years, his second guru handed him over to the foremost authority on the mëdaùga, Haridãsa Bãbajì Mahãrãja Viåãrada, Bãblu’s third and last mëdaùga guru. Under his guidance, Bãblu studied the vast ocean of padãvalì-kìrtana, the topmost musical system, which describes the eternal lìlãs of Rãdhã and Këòøa through long, elaborate songs and mantras. Unfortunately Bãblu could not complete his training, because Haridãsa Bãbajì Mahãrãja left the world a few years later. The knowledge, however, was not lost; Haridãsa Bãbajì Mahãrãja’s books were left in Bãblu’s care.

� IntroductionFrom 1982 until 1995, Bãblu served as a mëdaùga teacher at

the ISKCON Gurukula in Mãyãpura. He tirelessly trained more than 300 students, inside and outside of ISKCON, in the pure style of Gauîìya Vaiòøava music, and it was mainly by his endeavor that the Mãyãpura project became renowned for its high standard of kìrtana. Since 1995 he has been teaching mëdaùga at the ISKCON Gurukula in Vëndãvana, where he is a source of inspiration for the young Vaiòøavas who are eager to take up the pure Vedic system of mrdanga playing.

Gaura-åiromaøi Dãsa, born in 1962, has been a member of ISKCON since 1992. An initiated disciple of H.H. Årìla Åacìnandana Mahãrãja, he serves at the ISKCON community of Goloka-Dhãma in Abentheuer, Germany. He studied Sanskrit and Indian philosophy at the Heidelberg University and also learned professional typesetting. He regularly gives seminars on Këòøa conscious topics and helps to translate and publish books in German and English. He is a member of the Veda Academy in Schöna, Germany, where he serves as a Sanskrit teacher.

In 1997 he met Bãblu and, taking lessons from him, became an enthusiastic mëdaùga player. With his experience in book publishing, his enthusiasm for mëdaùga playing, and his appreciation of Bãblu, he greatly assisted in writing this book.


Maùgalãcaraøa

årì årì nityanãnda-gaura-candrãbhyãõ namaæ

I offer my humble and respectful obeisances unto the lotus feet of Årì Nityãnanda Prabhu and Årì Caitanya Mahãprabhu.

jaya jaya årì-caitanya jaya nityãnanda jayãdvaita-candra jaya gaura-bhakta-vënda

All glories to Lord Årì Caitanya Mahãprabhu! All glories to Lord Nityãnanda! All glories to Advaita Ãcãrya! All glories to the devotees of Lord Årì Caitanya Mahãprabhu! (Cc. Antya 1.8)

mëdaùga-bãdya, åunite mana,abasara sadã jãce

gaura-bihita, kìrtana åuni’, ãnande hëdoya nãce

My mind ever longs for the opportunity to hear the music of the mëdaùga. Upon hearing the kind of kìrtana ordained by Lord Gauracandra, my heart dances in ecstasy. (Åaraøãgati, Åuddha-bhakata 4)

� Introduction

Årì Khol-PraøãmaBefore picking up the mëdaùga to play, one should always offer

obeisances while reciting one of these beautiful praøãma mantras from Nãraîìya Candradayana Candrikã.

namo jagannãtha-sutãya namo mëdaùgãya namaæ lãvaøya-rasa-mãdhuri-sahasra-guøa-saõyuktaõ

namo mëdaùgãya namo namo namo baladevãya namo namaæ

“I offer my respectful obeisances unto the son of Sri Jagannãtha Miåra (Årì Caitanya Mahãprabhu). I offer obeisances unto the mëdaùga, from which sweet and nectarean sound emanates. I offer my obeisances again and again unto the mëdaùga, which has thousands of good qualities. And I offer my obeisances unto Lord Baladeva, who assumes the form of the mëdaùga to serve Lord Caitanya.”

mëdaùga-brahma-rupãya lãvaøya-rasa-mãdhuri- sahasra-guøa saõyuktaõ mëdaùgãya namo namaæ

“I bow down again and again to the mëdaùga. It is supreme Brahman transformed into a clay drum that is infused with the sweet mellows of graceful enchantment and endowed with thousands of transcendental qualities.”

Hare Këòøa Hare Këòøa Këòøa Këòøa Hare Hare Hare Rãma Hare Rãma Rãma Rãma Hare Hare

10 The Twelve-month Mëdaùga Course

Introduction

In this dark age of hypocrisy and quarrel, Årì Caitanya Mahãprabhu distributed love of Godhead and showed the most sublime way to transcend the bondage of matter and enter the spiritual sky.

The founder-ãcãrya of the International Society for Krishna Consciousness, His Divine Grace A. C. Bhaktivedanta Swami Prabhupãda, not only introduced Årì Caitanya Mahãprabhu to the world outside of India, but also convinced thousands of sincere souls to become Lord Caitanya’s dedicated followers. Årìla Prabhupãda spread the glories of the Lord through his writing. He knew that in this age the written word would be the best means of propagating the spiritual message of Årì Caitanya Mahãprabhu. Årìla Prabhupãda instructed his followers not only to distribute his books but to also write books. Thus, on his advice I am writing this book on Gauîìya Vaiòøava music. My desire is to help the devotees play and sing in an authentic way for the pleasure of Këòøa.

Learning is Part of Këòøa Consciousness

Indian classical music has a spiritual origin. Lord Këòøa has always been glorified in stories and songs through kìrtana and bhajana. Through the inspiration, enthusiasm, and mercy of our spiritual preceptor, Årìla Prabhupãda, the joy of playing and singing traditional Vaisnava music has been brought to the Western world and has been experienced by thousands of people. Årìla Prabhupãda,

11 Introductionan expert musician and mëdaùga player, wanted many of his followers to learn the beautiful art of playing the mëdaùga. By his mercy, the seeds of his transcendental desire are bearing fruit.

Traditionally, only the mëdaùga and karatãlas were used in kìrtana. Devotees should therefore learn to play these instruments as an offering of love to Këòøa.

What is the Jewel?

One day, Nãrada Muni asked his friend Këòøa, “Where do You stay, and what is Your permanent place of residence?”

Këòøa replied:

nãhaõ tiòóhãmi vaikuøóhe yoginãõ hëdayeòu vã yatra gãyanti mad-bhaktãæ tatra tiòóhãmi nãrada

“My dear Nãrada, actually I do not reside in My abode, Vaikuøóha, nor do I reside within the hearts of the yogìs, but I reside in that place where My pure devotees sing My glories in ecstatic kìrtana.” (Padma Purãøa)

Bhaktivinoda Óhãkura writes in his song Jìv jãgo,

enechi auòadhi mãyã nãåibãra lãgi’ hari-nãma-mahã-mantra lao tumi mãgi’

“I have brought the medicine for destroying the illusion of Mãyã. Now pray for this hari-nãma mahã-mantra and take it.”

We are severely infected by material disease, and the hari-nãma mahã-mantra is the medicine. What is the proper way to take the


medicine of the holy name? There are two ways. One way is japa meditation, quiet chanting counted on beads, and the other is kìrtana, loud chanting to a melody or song. Japa and kìrtana are equally important. Both are a means to develop pure bhakti, which is what Këòøa has prescribed. Kìrtana in its pure sense describes Këòøa’s pastimes during rãsa-lìlã. Kìrtana accompanied with musical instruments, such as mëdaùga, karatãlas, gong, vìnã, tambura, and sitar, is an easy and powerful meditation for remembering Këòøa’s pastimes.

The mëdaùga is mentioned first, because the mëdaùga is essential to a good kìrtana. Caitanya Mahãprabhu’s saùkìrtana on the streets of Navadvìpa is described as follows:

mëdaùga-karatãla saùkìrtana-mahãdhvani ‘hari’ ‘hari’——dhvani vinã anya nãhi åuni

“When the saùkìrtana movement thus started, no one in Navadvìpa could hear any sound other than the words ‘Hari! Hari!’ and the beating of the mëdaùga and clashing of karatãlas.” (Cc. Ãdi. 17.123)

Music produced with the mëdaùga and karatãlas invokes mohinì-åakti, the potency of enchantment, which intoxicates the mind. The sound of the mëdaùga creates auspiciousness, just like the sound of the conchshell. Inauspiciousness cannot remain wherever the mëdaùga and karatãlas resound.

In Åaraøãgati (Åuddha-bhakata 4), Årìla Bhaktivinoda Óhãkura states, “My mind ever longs for the opportunity to hear the music of the mëdaùga. Upon hearing the kind of kìrtana ordained by

13 IntroductionLord Gauracandra, my heart dances in ecstasy.” The mëdaùga is an auspicious instrument, and one should learn to play according to a genuine and proper method from a guru. To make up beats on the mëdaùga is improper.

According to Årìla Jìva Gosvãmì, the word kìrtana can be read as two separate words, ki and ratana. Ki means “what” and ratana “jewel.” “What is the jewel?” During kìrtana we should aspire for the highest, the crest jewel of music. Our singing and playing must be pure and high. And who should be the audience? You don’t throw a jewel to a common person, because he will misuse it. No, you give it to the king. He will use it properly and thus satisfy everyone. In the same way, we should not sing to please the unqualified mass of people. We should sing for Këòøa, the Supreme Lord, and satisfy His supremely refined taste for pure Vedic music. Then everyone will be satisfied and happy.

Get the Honey from the Bee

This supreme standard of music does not appear by chance. Like the gong and the karatãlas, the mëdaùga has to be played according to specific mantras and rhythms. Kìrtana is a great presentation to Këòøa. Therefore we have to use the mëdaùga very carefully, and sing very carefully, and for that it is necessary to learn from a bona fide teacher who knows his subject.

Many people play tabla or dholoka beats on the mëdaùga, but the mëdaùga has its own specific beats and mantras. The Muslims created the tabla. It is not a Gauîìya Vaiòøava instrument, and it is not descending from an authentic spiritual sampradãya. Although

1� The Twelve-month Mëdaùga Course

it has a highly elevated system of beats, it cannot compare to the mëdaùga. The dholoka, a wooden drum of similar size and form as the mëdaùga, is popular nowadays in India. It also is not a classical instrument and does not have a standard system of beats.

Some people wrongly think the mëdaùga is an ordinary instrument. On the tabla the maximum length of a tãla (rhythm) is sixteen mãtrã (beats). On the mëdaùga, the tãla can be much longer: some are twenty-eight, forty-four, ninety-six, one-hundred-and-four mãtrã, and so on. The long melodies, together with the words of the songs, tell of Këòøa’s pastimes. This knowledge can only be learned from an experienced teacher.

To play speculated beats on the mëdaùga, without learning from a guru, can spoil the kìrtana. If you want honey, go to the bees. I therefore encourage everyone to learn from a qualified teacher. He can give you the nectar of pure, sweet Vedic music, because he relishes it himself.

Under the guru’s guidance and by regular practice, you will learn to play nicely. Progress takes time, and patience is important. To grow a tree you have to water it daily so that it develops. Then it gives fruit, and you can taste the nectar of the fruit. Learning is like watering a tree: the daily offering of water is your regular practice.

Learning from the mouth of the guru is called guru-mukha-vidyã. This is the perfect method of entering the mysteries of the mëdaùga. None of our great mëdaùga-ãcãryas ever wrote a complete book for mëdaùga, because it is difficult to show the various finger strokes and to explain the intricate rhythms in a book.

1� IntroductionDespite this difficulty, by the mercy of my Guru Mahãrãja and Årì

Caitanya Mahãprabhu, I am trying to explain as much as possible in this book, so that aspiring mëdaùga students can learn to play perfectly. A very valuable asset is the modern sound media. On the enclosed CD or MC, you will hear me playing all the mantras included in this course, so guru-mukha-vidyã is available in this way. Still, if possible, come to India, stay for some months, and take mëdaùga lessons. Please don’t hesitate to contact me—I am ready to teach every sincere student.

The Mëdaùga is the Soul of Kìrtana and Bhajana

By hearing the perfect sound of the mëdaùga, all jìvas, such as animals, birds, and trees, are liberated. The sound of the mëdaùga reaches the three planetary systems: Svarga, Martya, and Pãtãla.

By studying how to play the mëdaùga, and by practicing regularly and systematically, it is easy to understand melody and rhythm and to learn to accompany the singer. The drum is the soul of all musical instruments—it gives pace and rhythm. A good mëdaùga player knows the whole tune perfectly. He knows what came earlier, what is happening at present, and what will come next. He also knows the three different levels of the tune. They are called udara, mudara, and tãra. Udara means a very slow, low-pitch tune, coming from the belly (antara). Mudara means a medium speed, medium-pitch tune, coming from the throat (madhyama). And tãra means a high speed, high-pitch tune, coming from the head. By distinguishing these levels, the mëdaùga player is always ready to play the appropriate beat in the proper tãla. In other words, he lives in the song and thus becomes the soul of the song. Then his playing is perfect.


Bona fide mëdaùga players are special people, as the mëdaùga is close to Këòøa. Such devotees are hearing and singing kìrtana and bhajana, so I request you to use this book and try to learn as much as you can. If you have any difficulty, please come to visit me and I will help you.

The Traditional SystemIn previous times the knowledge of learning to play the mëdaùga was passed on from guru to disciple by word and by demonstration. Whether learning from this book or directly from a guru, the student has to invest a significant amount of patience and work.

Because nothing has been written down previously, we have already lost many tãla, especially the long and variegated rhythms that describe Këòøa’s beautiful rãsa-lìlã. I am sure that after another ten years, we will lose many more tãla. Many players do not know what advanced mëdaùga playing is, and many mëdaùga players do not follow the bona fide system. Therefore they play beats that have been concocted.

I make a humble request: whoever sings and plays, please learn this great art of playing the mëdaùga in the traditional system, handed down from our ãcãryas by the means of disciplic succession. Mëdaùga playing is a great service to please Këòøa and His devotees and an immense support for one’s own spiritual life. For many years, when I was traveling with a kìrtana party throughout India, I met with Vaiòøavas from different schools and movements. All their mahãtmãs and all their philosophical books stress the importance of bona fide kìrtana. Following the tradition system is a universal principle. We

1� Introductionare very fortunate to be in the direct line of Årì Caitanya Mahãprabhu, the creator and propagator of pure, sweet kìrtana.

I have been in ISKCON for eighteen years. I am very happy to be in Årìla Prabhupãda’s society, where I am allowed to render the wonderful service of teaching devotees. The mëdaùga is my practical meditating instrument, and it is my life and austerity. I receive so much taste and happiness from the mëdaùga, and therefore I am begging everyone to learn this transcendental instrument.

This book is to give guidance, help, and encouragement to everyone who wants to learn the transcendental technique of playing the mëdaùga and to become expert in playing this wonderful classical instrument. My desire is to try to serve the devotees by presenting and preserving this valuable knowledge, and I invite the devotees to become happy by playing the mëdaùga. Thus they will please Këòøa and help fulfill Årìla Prabhupãda’s desire to attract the people of the world to the holy name by means of beautiful, pure kìrtana.

This book, however, is not written only for aspiring mëdaùga players. It is meant to inspire everyone to hear and learn more about classical Gauîìya Vaiòøava music. We plan to provide more literature and recordings on this subject in the hope of awakening the taste and interest in the hearts of the Vaiòøava community for the immense treasure of our Gauîìya Vaiòøava culture.

Besides the practical part, you will find in this book many stories and thoughts concerning Vaiòøava culture and music. As they are all inseparably connected to pure devotional service, they may inspire you in your spiritual life. Perhaps you have a talented son or daughter, and by reading these lines, you will become enthusiastic to encourage


him or her to learn this exalted art. In this case, please contact me—I am ready to give my whole heart to a young, determined student, just as my mëdaùga guru gave his heart to me. If I find someone to take all my knowledge and preserve it for the next generation, then I would consider my endeavors and austerities successful.

How Much Mëdaùga Do We Need?One argument may be raised, and it has been raised repeatedly

in the past. Did we not receive the complete process of Këòøa consciousness from Årìla Prabhupãda? Do we need anything more than what he has taught us? Was he not also an expert mëdaùga player, who gave us sufficient knowledge about this instrument? Then why should devotees learn such an intricate system as you present here? Why not play only the mantras Årìla Prabhupãda gave us?

Årìla Prabhupãda was an expert musician and mëdaùga player who learned from childhood under the guidance of a professional player, but he was not a professional himself. His knowledge consisted of a basic yet pure system. If you are happy to use the system given by Årìla Prabhupãda and never change any beat, then it is wonderful. Just continue. If you stick to Årìla Prabhupãda’s instructions one hundred percent, you have already attained the perfection of kìrtana, because you relish the pure essence of the holy name. Put this book aside, or read it just out of curiosity, because you don’t need more. But there will be some who cannot be happy and satisfied playing only two or three mantras. So better than speculating and spoiling your taste for kìrtana, take this pure system, handed down in the tradition of the paramparã.

1� Introduction

Moreover, although Årìla Prabhupãda gave us the essence of everything—pure Këòøa consciousness and the process of how to attain it—there were many things he did not give us, because his time was limited. Many books are yet to be translated, and many aspects of Vedic art and culture are yet to be discovered and explained; the whole Vedic society has to be established, in the form of daivì-varøãårama-dharma. This was Årìla Prabhupãda’s explicit desire. When I was a small boy, he personally encouraged me to continue learning the pure system of the mëdaùga, so that later I would be able to teach it.

Remember, we sing and play music for Këòøa’s pleasure, and we should do it to our best ability. The ãcãryas painstakingly prescribed the way to sing bhajana: which meter, which tune. Music is an integral part of our divine Gauîìya Vaiòøava culture, and Årìla Prabhupãda was very conscious about that. In the beginning days of ISKCON, there was an emergency state and no time to deal with these aspects of Këòøa consciousness. First the framework had to be established. Now, as our spiritual society is growing, many talented young devotees are available to fulfill the other needs, and if some of them can master this spiritual music tradition, the whole world will benefit, and they will bring great pleasure to Årìla Prabhupãda.

What Can You Learn from This Book?The art of playing the mëdaùga contains a vast ocean of beats and

melodies, culminating in elaborate descriptions of Këòøa’s pastimes. If you play on an advanced level, your mëdaùga will directly speak këòøa-lìlã. Such an attainment needs years, if not lifetimes, of


practice. This twelve-month course offers an introduction to playing the mëdaùga.

By following the course, you will get a solid foundation through a set of hand practices, called hasta-sãdhana and hãtuti, which make your hands strong and loose and enable you to produce sweet and powerful sound on the mëdaùga. Moreover, you will learn the basic system of kìrtana mantras. I call this the “ISKCON standard:” you will be able to play the mëdaùga to all the kìrtanas that are performed during the daily temple programs and you will become an expert street saùkìrtana player. I promise that the system you will learn is pure, sweet, traditional, Gauîìya Vaiòøava mëdaùga playing. You will become empowered to fill the hearts of the audience with a new taste for këòøa-kìrtana and make them eager to learn the same system. Most of all, you will please Rãdhã and Këòøa very much by your sweet playing and attract Their merciful glances.

In the next volume we will introduce advanced kìrtana mantras and the technique of playing bhajana. Until then, you may derive inspiration from this book for your daily practice.

Who Can Learn the Mëdaùga?Årìla Jìva Gosvãmì has mentioned in his book Nãraîìya

Candradayana Candrikã that it is offensive to play speculated beats on the mëdaùga. He wrote that it is an important service for devotees to know how to play the mëdaùga in a sweet, proper way and thus support pure kìrtana and bhajana.

21 IntroductionThose who have learned to play the mëdaùga by themselves or

from untrained devotees have probably learned incorrect habits. To follow this course, I request you to stop playing anything other than what you are learning here for six months. According to your desire to play purely, you will get the power and taste to do so. This is the main precondition for any student: for six months, only play mantras given in this book.

In addition, you should have a healthy body and mental condition, and you should follow the process of devotional service. Playing the mëdaùga is an offering to Këòøa, so you have to be His devotee. Ideally, you should chant a minimum of sixteen rounds of the Hare Këòøa mahã-mantra on the japa-mãlã and should engage in Këòøa’s service. At least you should strictly adhere to the four regulative principles of bhakti-yoga: abstaining from illicit sex, meat eating, intoxication, and gambling. If you break these principles and continue to play the mëdaùga, you commit an offense, and Këòøa will not accept your playing.

You should also be aware that you need patience and determination to follow a steady practice schedule. I guarantee that if you stick to the above points and practice at least two hours every day strictly, according to the instructions in this book, you will be able to play nice, sweet kìrtana after one year, even if you are not very talented. If you have a very good hand technique and a feel for rhythm, or if you invest more time in practicing, you might complete the course within six months. If you practice less or not according to the system taught herein, you might need more time. Thus, the concept of a twelve-month course is a relative one. It depends on your talent and determination. Use your intelligence to find out how fast you can


proceed through the lessons. An hour practice every day, however, is the required minimum. If you are unable or unwilling to spend that time for practicing, then better you do not undertake the course, for you will only become frustrated.

Mëdaùga Playing for Children

I have a request for all parents: please engage your children in learning to play the mëdaùga in their free time. Please send them to a qualified mëdaùga teacher. By practicing the mëdaùga, they will be able to improve their health, character, and devotion. From 8 to 10 years of age is the best time to start learning. If they start at a young age, their hands become very powerful, and their playing will be sweet like nectar. And they will have a great taste and eagerness to continue to practice.

Årìla Prabhupãda’s father, Gour Mohan De, hired a professional mëdaùga player to teach Abhay Charan the standard rhythms for accompanying kìrtana. His mother was skeptical. What is the use of teaching such a young child to play the mëdaùga? It is not important. But Gour Mohan dreamed of a son who would grow up singing bhajana, playing mëdaùga, and speaking on Årìmad-Bhãgavatam. When Abhay sat down to play the mëdaùga, even with his arms stretched out as far as he could, his small hands would barely reach the drumheads on either side of the drum. Still, he eagerly learned.

It is possible to purchase small children’s mëdaùgas made of brass or fiberglass shells. They make learning easier, as children don’t have to stretch their little arms so far, and being made from resilient materials, the drum will last longer than the first lesson.

23 Introduction

Mëdaùga Playing for Ladies

Mëdaùga playing is not only for boys and men. Årì Viåãkhã Devì plays for the pleasure of the Divine Couple. Some ladies have become expert in the art. They should, however, rest for three days of the month from practice and playing, just as with Deity worship and similar devotional activities.

Mëdaùga Playing as Yoga

Playing the mëdaùga is considered a type of yoga practice. A daily quota of 30 minutes or more is very beneficial for general health and specifically for improving concentration. Since the whole body is engaged and one has to sit properly, not only the arms and hands are trained but also the legs and spine. One learns to breathe deeply and properly, and the mind automatically becomes clear and happy.

Getting Prepared

The Mantra Language

Each beat on the mëdaùga has a corresponding sound expression, and by combining these sounds, a mantra is created. The mantra is a perfect sound representation of the beats. Each syllable of the mantra stands for one or more beats on the mëdaùga. The mantra language is thus a powerful means to preserve the countless beats and to make them accessible for students. Therefore, you will learn the mantra language right from the beginning, along with detailed translations.


In many cases, the beat can be exactly identified by the words of the mantra. For example, jha is always played open with both hands. Some words, however, like ta, represent a different beat in different mantras. Sometimes ta is played with only the right hand, and sometimes with both hands. Thus, the mantra language is not unequivocal. The same principle is found in the English language. The letter “a” is pronounced differently in the words “same” and “any.” An English expert will pronounce both words properly, whereas a beginner may not. In the same way, an experienced mëdaùga player understands the mantra language and is able to play any mantra properly. For you, as a beginner, I have given a translation that explains the mantras in this course.

As you work through the course, look at each mantra and its translation. Of course, the best method is to learn personally from a bona fide teacher. For most devotees, however, it is very difficult to live with a teacher for a long time, especially for Western devotees who cannot stay for long periods in India. Therefore, I pray to Årì Caitanya Mahãprabhu that He may help you to grasp the meaning and the techniques given in this course. Årì Caitanya Mahãprabhu is very merciful; He inspired me to write a book in English, explaining many details of the mëdaùga, according to the Gauîìya Vaiòøava tradition. The enclosed CD or MC, containing recordings of all the mantras taught in this book, will be helpful. Listen to the recordings again and again as you practice the mantras.

The mantra language is a kind of meditation. Mantra means manas trãyate, “that which liberates the mind.” By becoming absorbed in the mantra, the mind is freed from disturbing thoughts and allowed to concentrate fully on playing. The mantras of the mëdaùga are as

2� Introduction

powerful as other Vedic mantras; and playing the mëdaùga is a pure Vedic art. To learn to play the mëdaùga, you must meditate deeply on the mantras and memorize them perfectly. The best system is the traditional one: study each syllable of the mantra carefully, learn the mantra by heart, start by playing very slowly while speaking the mantra aloud, and in that way “spiritualize” the mantra. This is the safe way to success.

Proper Pronunciation

Like Vedic mantras, mëdaùga mantras are transcendental sound vibrations. They have to be pronounced properly to achieve their full effect. They are written in the Bengali language. In the following list you will find all the letters that appear in the mantras and a guide on how to pronounce them:

a open a as in far, but short e as in themi as in pino as in gou as in pushau two separate vowels a and u (These are actually two separate syllables, as in jha-u.)ei diphthong vowel, as in theyow diphthong vowel, as in now b as in birdd as in dogdh aspirated d, as in red-hotg as in godgh aspirated g, as in dig-hardj as in jobjh aspirated j, as in hedgehog


k as in kitekh aspirated k, as in Eckhartl as in lightn as in noonp as in penr as in Spanish “arriba”, but soft and short (the tongue vibrates against the palate) t as in tipy as in yes

The Basic Beats

The mëdaùga has a great variety of beats. Each one produces a characteristic sound. When played in different sequences, the mantras create an endless ocean of charming rhythms and melodies. The basic beats required for the mantras used in this course are explained below. In later publications you will discover more varieties, such as special beats for bhajana, but the list below is more than sufficient for the beginner. These beats provide a solid basis for sweet and powerful kìrtana.

Mantra Abbreviations

As you work through the course, you will see that there are different types of mantras, and all the mantras have been given an abbreviated name. The abbreviation for hasta-sãdhana is HS; hãtuti, HA; hãtuti decoration, HD; kìrtana, K; tehãi, TEH; dvãra, D; and special mantras, X. The first hasta-sãdhana mantra is called HS 1, the second HS 2, and so on.

2� Introduction

Second Speed is Not Double Speed

Do not get confused over the names. The main kìrtana mantras you learn in this course are called the Arati Mantra or First Speed (K 1), the Second Speed (K 2), and the Third Speed (K 3). These are the names of mantras.

Single speed and double speed refer to how fast a mantra is played.

Holding the Mëdaùga

If you are right handed, you play the small side with the right hand and the large side with the left hand. If you are left handed, you reverse the position of the ends. To simplify matters, we will speak henceforth of left and right side in terms of right-handed players. In other words, with “right hand” we mean the small side and with “left hand,” the large side of the mëdaùga. If you are left handed, you will have to exchange the words “left” and “right.”

The Principles of Proper Stroke Technique

Traditionally, the disciple learns by observing the hands of the guru. Since you do not have this opportunity, the different techniques are explained in detail below. Often, a slightly incorrect angle of the wrist or the fingers results in loss of quality, because the power is not concentrated at the right place. Still, I hope that the following explanations, together with the illustrations, help you attain a good technique.

To be successful, however, you have to do the main work; by long, uninterrupted practice, your hands will become strong and loose.


You have to learn to fix the mind on the mantra and to meditate on moving the hands properly. Then your intelligence—and Këòøa as Paramãtmã—will help you. Here are some essential principles:

(1) Don’t Compel Power by Force

The mëdaùga is a powerful instrument, not only in fired-up kìrtanas, but also in mellow kìrtanas and bhajanas. You don’t need great force to produce loud, dynamic sound. On the contrary, if you invest too much muscle power, your hands become stiff, and the sound will be hard and bereft of volume. How long can you play in that way? Such “dynamic” players engage the whole body to bang wildly on the mëdaùga and leave the kìrtana exhausted before it has barely started. Good technique means you can play uninterrupted for hours at double-speed level. Playing the mëdaùga is a matter of technique, not of force.

Did you ever see a whip artiste in a circus? With a loud crack, his whip tears up small pieces of paper or even thin wooden boards from a distance of many yards, and he never hits the hand of the person holding the target. All this the artiste can do with the movement of two fingers. By technique, not by force, power is concentrated precisely on one point to produce the maximum effect.

The same applies to the mëdaùga. By long, uninterrupted practice, make your hands loose and whip-like. You must start by playing very slowly, concentrating on the proper movement of the hands. Then gradually your stroke will become strong and clear.

2� Introduction

(2) Find the Direct Way

To play fast means you must move your hands the shortest distance possible. You have to move the fingers from point A to point B (the mëdaùga skin), and the longer the distance between A and B, the faster you have to move your hands. The rhythm does not wait for your hands, it goes on, and if you miss the right moment, you break the rhythm. The shorter the distance your fingers move, the less you have to accelerate them, and you can therefore play faster and use less energy.

Keep your hands close to the mëdaùga skins. The stroke comes from the wrist, not from the arms. There is no need to move your arms with sweeping gestures. Try to play as economically as possible by finding the short and direct way to the mëdaùga skin. Below, you will find examples of specific beat combinations illustrating this point.

(3) Concentrate the Energy

To produce the right sound you have to strike the mëdaùga skin exactly at the right spot, generally in the middle. Like hitting a good gong, if you hit it gently in the middle, it generates a warm, rich sound, but if you hit it at the edge, even with force, the sound will be shrill and flat. In the same way, the mëdaùga skin does not produce the desired tone if you strike at the wrong point. This can be a matter of a small fraction of an inch, especially in bhajana mantras. To learn to hit the skin properly you should practice the same mantra again and again. Play the mantra very slowly, until you can reproduce it uniformly, and then increase


the speed. While repeatedly playing a mantra, good mëdaùga sound is achieved when all the strokes have an equal tone—not one loud, one flat, one high, then not at all, and so on.

Furthermore, the direction of your stroke is important. You should hit the skin vertically, not at an angle, without applying much force, to produce a clear, loud sound. Try an experiment: hit the skin vertically, and then hit it at an angle. Can you hear the difference?

Another consideration is the angle of the wrist. The hand usually moves in a circular way (with the wrist as pivot) so that the mëdaùga skin is hit vertically. This point is discussed below under “Important Stoke Combinations.”

(�) Let Your Hand Swing

Music means you must have rhythm, and rhythm on the mëdaùga means using swinging movements. Consider a clock: by investing a little energy to wind up the spring, it can go for many hours, clicking rhythmically and moving the hand over the clock face. How is it possible? The mechanism of the clock preserves the energy of the spring. The same principle can be applied to the mëdaùga. If your hands swing to and fro, according to the rhythm of the mantra, they can preserve the energy of one stroke for the next one.

In your consciousness you must perceive all the strokes of a mantra as a unit. An important point is the way the hands move after each stroke, because the fading movement of one stroke is the rising movement of the next one. If you keep this point in

31 Introductionmind, you will feel your hands start to swing as you play faster. You need less energy to keep moving when the energy is preserved in the swinging motion. Then, playing becomes pleasurable. To come to this level of playing requires concentration and feeling—and constant practice.

Please keep these four points in mind. Don’t read them just once. Whenever you learn a new stroke, go back to this chapter, study it carefully, and try to apply it to the new mantra. Soon you will come to a good understanding of how to move the hands.

Two Kinds of Sound

Basically, on both hands there are two kinds of sound:

(1) Open sound (chara)

This sound is resounding and sustained. After striking the mëdaùga skin, the hand immediately rebounds, allowing the skin to vibrate freely. This sound is especially prominent in kìrtana. Some examples are ge, ghe (left hand); ta, re, ne, na (right hand); and jha, dhei, dhe (both hands together).

(2) Closed or flat sound (chapa)

This sound is short and can be either sharp or muffled. The hand remains flat on the mëdaùga skin after the stroke, preventing the skin from vibrating. A high-pitched sound is generated, which is used in bhajana. However, if played strongly, it is loud and piercing, like the sound from a whip. You will find this in many kìrtana mantras as the rhythm-carrying note. Some examples of


closed sound are khi, khe (left hand); te, tak, ti, nak (right hand); and tha, thi (both hands together).

The sounds can be combined by playing open sound with the left hand and closed sound with the right hand (like da, dad), or vice versa (like ta, tak).

In the translation of each mantra, it is described whether the beat is played with open or closed sound. Carefully follow the instructions in order to play the mantra properly. The same idea is found in Western classical music where a note can be played legato or staccato. The same note is played: one is in a smooth flowing manner, and the other is sharply detached from the other notes. If you neglect this detail and play open sounds closed and closed sounds open, you may play the beat precisely and rhythmically, but you will produce incorrect and poor sound. Therefore, study the mantras carefully, and practice by starting slowly, always checking your hands.

The Beats of the Left Hand

(1) Open Sound

The hand hits against the mëdaùga ring, not against the skin. If you bend the left hand between the fingers and the palm while keeping the fingers straight, the point where the hand is bent is the point that hits the ring. Like a spring, all four fingers are hurled against the mëdaùga skin and then immediately rebound, allowing the skin to vibrate freely. Good technique and a soft hand produce a long deep sound, which can be remarkably loud, without strong effort. Keep the fingers close together, but don’t

33 Introductionmake them stiff by clenching them. The thumb hangs loose on the side without touching the mëdaùga.

The stroke comes from the wrist, which must be very loose. Let your arm hang down relaxed, and allow the hand to swing to and fro, like a pendulum. You will observe that the whole forearm, starts to swing, but the impulse comes from the wrist. With practice this becomes a natural movement, and you will be able to play this beat fast and rhythmically for a long time without becoming tired. The mantra you learn in the second and third month (Hãtuti 1) will help you to master this beat.

(2) Closed sound

All four fingers strike flat in the middle of the skin and remain for a moment. The skin is prevented from vibrating, and a flat, non-resounding tone is generated. This beat can be played softly but also very strongly, depending on the mantra. The key to proper sound is to keep your hand loose, yet preserve the force (remember the example of the whip) to prevent the hand rebounding. All four fingers, like a flat plane, hit the mëdaùga skin simultaneously. As above, keep the fingers together without clenching them.

The movement resembles that of the open sound, but you must keep the wrist slightly away from the mëdaùga, or the palm will hit the ring and produce an undesired sound. Only the four fingers touch the mëdaùga.

You will find this beat much more demanding in terms of technique and energy than the open one. Because the hand rests


on the skin for a moment to deafen the sound, it is more difficult to keep the hand swinging. For the open sound, the wrist practically stays at the same place, and the hand swings freely, because it rebounds from the skin after the stroke. For the closed sound, the whole forearm swings, and the wrist moves slightly to and fro. Still, the impulse comes from the wrist, not from the arm.

(3) Hitting with Palm

This beat is rarely used, but it appears in one mantra of this course (X 3, page xxx). The whole palm strikes flat against the surface of the mëdaùga skin and rebounds immediately to produce an open but muffled tone.

The motion comes from the forearm rather than from the wrist, which only supports the stroke slightly. Hold the hand parallel to the skin and keep the wrist loose. Strike the black coat with the palm, and immediately move the hand away. You have to strike quite forcefully. The sound will be deep and open but not as resounding and voluminous as the normal open sound.

The Beats of the Right Hand

(1) Four Fingers Open Sound

The technique is the same as the open sound of the left hand, but first you must find where your hand hits the ring. It depends on your hand size. Hold the right hand flat on the mëdaùga skin with the fingers covering the black layer. The point where your hand touches the ring is the correct hitting point, because you strike the skin exactly in the middle and produce the best sound.

3� Introduction

(2) Four Fingers Closed Sound

Similar to the left-hand closed sound, you strike directly on the mëdaùga skin without hitting the ring. The fingers do not rebound; they deafen the sound. As above, the tips of all four fingers strike the black layer of the skin. You have to play very precisely, with a loose but strong hand, to produce a good sound. Think of the example of the whip. If you keep your fingers loose and concentrate the energy in the wrist, this sound can become incredibly strong and powerful, and thus dynamically support the melody. Usually this beat is applied in very fast combinations, so there is no time to make big movements. The impulse comes from the wrist.

(3) Thumb

The outer side of the top part of the thumb strikes the mëdaùga skin, directly in the middle. Don’t hit the base of the thumb against the ring, as that would be very painful. In the beginning you will experience some pain where the thumb hits the mëdaùga skin, but after some days of practice, hard skin will develop and protect your thumb.

If you play slowly, the sound is closed. You have to press the thumb against the skin and deafen the sound. As you get faster, the thumb will start to fly over the skin and produce an open sound. Therefore, we don’t divide this beat into open and closed; it depends on the speed.


Usually, this beat is combined with four-finger beats in fast, double-speed rhythms. The combination of four fingers—thumb requires a particular technique, which is explained below.

(�) Three Fingers Open Sound

(�) One Finger Open Sound

Both beats are played similar to the four fingers open sound. In (5), only the index finger strikes the skin, and in (4), the other three fingers strike the skin. Take care that all three fingers, including the small one, touch the mëdaùga skin, or the beat will not be clear. Usually, these two beats are played alternately in combination.

(�) Three Fingers Closed Sound

(�) One Finger Closed Sound

Both beats are played in a similar way to the four fingers closed sound. They produce a sweet yet sharp high-pitched

3� Introduction

sound, characteristic of bhajana mantras, but they also appear in many kìrtana decorations. Applying some force, hit the black layer exactly in the middle with the fingertips. Strike vertically, not from an angle, or you cannot focus the energy. These two beats are usually played one after the other. The combination one finger—three fingers is very demanding when you play fast. The technique is explained below.

(�) One Finger Up

This is a special technique, unknown to many mëdaùga players, although it is a standard beat. Instead of hitting against the mëdaùga skin, the index finger strikes the small leather strip between the ring and the skin. The sound is closed; the finger must remain flat after striking the leather. The other three fingers are slightly bent, with the tips resting on the mëdaùga skin. They serve as a turning point for the hand. In this way, a leverage action is achieved, and the index finger is highly accelerated toward the leather strip. It produces a high, sharp sound, which makes the mantra particularly sweet and expressive. This beat is played in bhajana mantras and in many kìrtana mantras. You will need abundant practice to play it properly.


Important Stroke Combinations

(1) Four Fingers Closed—Thumb

This basic beat combination, tere, awaits you at the beginning of the course. It is part of the bìja-mantra, tere kheta, the origin of all other mantras. When played in succession (tere tere), it requires an exact technique to play it fast.

The center of the movement is the wrist. There are, however, different ways to move the wrist, and you have to distinguish them carefully. Hold your right hand straight in line with the forearm, parallel to the mëdaùga skin, four fingers together, and the thumb straddled away in its natural angle of about forty-five degrees. This is the way beginners generally hold the hand. Look at the pictures.

3� Introduction

In this position, if you want to strike alternately with four fingers and thumb, you will naturally tend to twist the wrist. This movement bears two significant disadvantages. First, the twisting movement is not strong and cannot be played fast. Second, you cannot hit the mëdaùga skin vertically; the fingers and the thumb strike from the side, and the sound is weak and unclear.

Wrong

�0 The Twelve-month Mëdaùga Course

The photographs shows the proper hand position. Starting from the above position, relax the muscles of the wrist; the hand falls down vertically until it stays in a certain angle to the forearm. In this position, the hand is not held by muscle power but by the limitation of the wrist. The hand is still parallel to the mëdaùga skin and still straight in itself, but it is no longer straight in line with the forearm. The difference between the two positions is small, but the correct position enables a completely different movement. Instead of twisting the wrist, you move it down and up, and use a different set of muscles. The four fingers strike the skin vertically to produce a strong, closed sound, and upon moving the wrist, the thumb naturally proceeds toward the skin vertically, because it is poised in the proper angle.

If you try the previous hand position, and move the hand up and down, you see the thumb will not touch the mëdaùga, because the angle is

incorrect.

Right

�1 IntroductionFrom this small experiment you can gain tremendous

experience. Varying the angle of the wrist makes the difference between a weak and a strong stroke. When you hold your hand in the correct position, you do not twist your wrist; you move it up and down. You apply muscles, which work more directly than those that create the twisting movement. By changing to the correct position, you will have more power and will be able to play faster without becoming tired. Moreover, because you allow your hand to find its natural position, your arm becomes relaxed and you learn to play by using the natural movements of your limbs.

Wrong


Another advantage is that your hand can easily swing, because the weight is distributed differently. Because your hand is almost pointing to the ground, you get the added advantage of gravity. Try it out: by twisting your wrist you do not have the same natural swinging impulse in your hand.

(2) Four Fingers Open Repeatedly

You will find this combination in dheiya ta kheta tak dhena kheta (X 2, page xxx). You repeatedly strike with four fingers open sound. If you hold the hand straight in line with the forearm, you will not get the desired result. Let the hand fall down, as discussed in combination (1), and a completely different movement is possible, using different muscles and different mass distribution. The palm and thumb become the counterweight to the fingers. In the correct position the hand swings naturally, and you use the same muscles as used to lift a weight from the floor. These muscles are stronger than those you would apply if you held the hand straight.

Right

�3 IntroductionConsciously hit against the ring, not the mëdaùga skin. Only

then will you experience the “trampoline effect,” which makes your hand rebound back to the starting position. This is the key to playing the open sound in quick succession.

The same technique is applied when you play four fingers open—four fingers closed, as you will find in the combination ta—te in tere kheta tere kheta. Using the “trampoline effect” of the open sound (ta), the hand will be ready immediately for the next stroke (te, closed). Keep the fingers together, so that the hand moves as a unit.

Try the same positions on the left side. The photographs show how to play the closed beat in the correct and the incorrect positions. To compare the difference, try both hand positions when you play Hãtuti 1, which is your main object of practice in the first few months.

(3) Thumb—Four Fingers Open

This combination appears in many kìrtana mantras, and it is always played in double speed. You will meet with it in the beginning of the course, in the hasta-sãdhana HS 3 (page xxx), in the form of kheta takhi. It is, so to speak, the reverse of tere, except that the four fingers play the open sound. The same principle as before is valid; you move the hand up and down, with the same angle of the wrist.

For this combination, it is important what the hand does before the beat. Because you start with the thumb, the movement comes from above and goes downwards. The thumb has to be

�� The Twelve-month Mëdaùga Course

moved away from the mëdaùga skin before the stroke starts, as you do automatically when you play tere. Play tere slowly and watch the thumb move.

How to accomplish that motion? When the left hand plays the preceding beat (in our example, khe) the right hand moves upwards without touching the skin. This movement is an “empty stroke,” performed similar to te in tere, which starts the swinging movement. The thumb automatically moves away from the skin. Then the hand swings down and the thumb strikes for ta. The hand is swinging, and it is easy to move it up again and strike with the four fingers for the second ta. Consciously hit against the ring to produce a clear open sound.

The point to remember is that the sequence starts by moving the four fingers, not the thumb. If the four fingers move correctly, as described above, then the thumb follows automatically and makes a clear stroke. If, however, you start with the thumb, your hand will get stuck. Therefore, concentrate on making the four fingers swing, and the stroke will be natural and perfect. Practice very slowly, until you fully realize this small detail.

In other mantras you find the same technique in longer combinations. For example, ghene nere and khene nere in HS � (page xxx). The hand moves as in tere tere except that the first stroke is “empty” and the four fingers produce an open sound. Later, you will find even longer combinations, such as khete tete tete kheta in HS � (page xxx), which is like playing tere tere tere. If you try to start this sequence without first moving the hand up, more energy is required to make the hand swing, and at double

�� Introductionspeed, your hand will get stuck and the stroke will be unclear.

Again, before you strike with the thumb, move the hand upward in an “empty stroke.” Do not twist the wrist. The movement is similar to four fingers closed, but you do not touch the skin. Practice slowly and consciously; try to get your hand swinging rhythmically and without great endeavor. If you can apply these points properly, you hold in your hands the foundation of proper stroke technique.

(�) Both Hands Open on Right Side

This beat is called klan; usually it appears in the combination ta klanta as in TEH � (page xxx). The right hand plays open sound with four fingers on the small skin, and it is immediately followed by the left hand playing the same beat also on the small skin. You distinctly hear two separate sounds, yet so close together that they appear as one beat. It is, so to say, a double stroke on one beat.


The right hand plays the open sound with a different technique. Because the right hand has to give space for the left hand, you cannot make an upward movement by striking from the wrist, as usual. Rather, the right forearm makes a small circular movement downwards. Start by holding the right hand close to the small head, about four inches (ten centimeters) from the small head. The stroke is only a small movement. After the stroke, the right hand moves down and then up, ready to play the next ta. Don’t withdraw the hand anxiously with an overhasty movement, or the stroke will be unclear. The wrist stays loose and supports the stroke with a small but strong push on the mëdaùga skin—not more than that.

�� IntroductionThen, the four fingers of the left hand strike from above.

The left hand has to be already in position before the right hand starts. Hold the left arm parallel above the mëdaùga body, the wrist slightly bent towards the small head. Make a small downward movement of the left forearm, and strike with the left hand. The stroke of the left hand must be stronger than the one of the right hand, and the sound must be clear and light. After the stroke, the left hand rebounds to its starting position, close to the small head. You can repeat the same beat immediately. Try continuously playing ta klan ta klan ta… in fast sequence. You need very little force to produce a strong effect.

Do not bring the left hand to the right side by a long circular motion. This looks impressive but takes too much time. Lead the hand close along the mëdaùga body—again, look for the shortest way. You only have as long as it takes to play the first ta of ta klan ta.

(�) One Finger Closed—Three Fingers Closed

This beat is quite demanding, especially when it is played at double speed, and it has a subtle technique. Without this sequence you cannot play advanced kìrtana mantras, what to speak of playing bhajana melodies. It is found in dhere tete in HA � (page xxx).

When you play four fingers—thumb, the center of the motion is the wrist. When you play one finger—three fingers, the center is the metacarpus. If you only move the fingers, as beginners tend to do, your stroke remains flat and without volume. If you play from


the wrist, you cannot play at the necessary speed—the movement is too awkward. You have to twist the middle part of the hand. For that, your hand has to become very loose and strong. You use muscles that you never realized you had. Your fingers have to be loose but elastic; they follow the movement of the middle of the hand like a whip. This technique is hard to describe—you have to feel it in your hand.

Wrong

It takes time and practice to master this beat. But once you have mastered it, you will be able to produce very sweet and dynamic sound in double speed. Then you will get great satisfaction by playing the mëdaùga.

Again, the direction of the movement is essential. Use the same principle as described before, in combination (1): the wrist is completely relaxed, allowing the hand to fall down, following the natural pull of gravity. This enables an up and down

�� Introductionmovement of the fingers. When you play four fingers—thumb, the thumb automatically follows the course of the four fingers, which constitute the bulk of the swinging mass. Similarly in this sequence, the index finger follows the movement of the three fingers. While striking with the index finger, you should feel as though you are hurling the three fingers towards the ground—automatically, the index finger strikes the mëdaùga skin properly. Then, you lift the three fingers and they strike the skin. Just concentrate on the motion of the three fingers. Then the index finger will follow.

The arm is completely relaxed. The wrist moves only slightly, giving impulse to the hand. The fingers do not move by themselves; they are accelerated by the hand and stay loose and elastic. The faster you play, the less power you invest. If you follow these principles, a dynamic power develops in your hand. In time, the fingers dance over the mëdaùga head and produce a characteristic, sweet sound.

Right


(�) Three Fingers Closed—One Finger Open—One Finger Open

This three—one—one rhythm is characteristic for the Third Speed (K 3, page xxx), which is the double speed rhythm in kìrtana. You have to clearly play an open sound with the index finger, by consciously hitting against the ring. Otherwise you cannot play twice in quick succession. You have to use the “trampoline effect” of the open sound, which brings your finger immediately back to the starting position, making it ready for the second stroke. If you play the closed sound, the finger remains on the mëdaùga skin, and it takes too much energy to lift it again. Therefore, hit against the ring, not against the skin.

Keep the wrist and fingers very loose. This beat is good practice to learn the technique of swinging the hand. As with the above stroke combinations, you have to move the fingers up and down rather than twisting the wrist.

(�) One Finger Up—One Finger Closed—Three Fingers Closed

This is one of the essential bhajana combinations, but it is also found in some kìrtana decoration mantras (for example TEH 20, page xxx). Usually it is called dhene ne or ta titi, and it is played in repeated succession. Since it is a triplet beat, all three strokes must be played in uniform rhythm without a space between them.

The technique resembles that of one finger closed—three fingers closed. The main action comes from the middle of the hand. When playing one finger up, don’t throw the other three fingers away from the mëdaùga; keep the tips of them resting on

�1 Introductionthe mëdaùga head. Then the fingers move downwards to play one finger closed and upwards to play three fingers closed. This action is performed by the middle part of the hand, which makes a slight twisting movement. You need to develop a certain power in your fingers. Then they will learn to dance over the mëdaùga skin and manifest the sweet, fast sound characteristic of this beat.

PosturePlaying the mëdaùga is a type of yoga, and the principles of yoga

practice apply to it. Correct posture greatly influences the mind to be concentrated and free from tension. We have experience that good posture assists us in chanting japa. Årìla Prabhupãda once told one of his disciples to sit properly to chant japa.

General rules:

(1) Keep the body upright and neither stiff nor tense. The head, shoulders, and pelvis should be in a vertical line.

(2) You can play the mëdaùga standing (in kìrtana) or sitting (in bhajana). Both positions should be practiced. Some devotees find it difficult, if not impossible, to sit on the floor for a long time, but by steady practice you can learn to do so. Please don’t sit on a chair while practicing, because the arms become accustomed to an incorrect posture, and the hands cannot play properly. You should change between sitting and standing positions until you can sit comfortably on the floor. Various positions are shown below, and you should learn to change positions while playing. This should be part of your daily practice.


(3) If you are unable to sit on the floor—perhaps for medical reasons, such as a knee injury—try a footstool as used in Zen meditation. The footstool is about eight inches (twenty centimeters) high, and the seat is inclined slightly forward. When sitting on the footstool, the pelvis is raised, the legs are crossed, the shanks lie flat on the floor, and the knees are free from tension. It may assist you in sitting for a long time without the disadvantages of a chair.

(4) Don’t look at your hands while playing. This is a bad habit while playing any musical instrument. Your neck will become stiff, you will not be able to observe the other kìrtana players, and you will never be able to play without watching your hands. You should look ahead in a natural way. It may be helpful to regularly practice in front of a mirror. Your eyes become detached from looking down at your hands, and you can check your hands in the mirror, since you do not have a teacher to correct you. You should also observe your face. Later, when you sit on the stage or in the temple room, you should appear happy and relaxed. Try to please Këòøa and the audience by your appearance. By appearing relaxed, you become relaxed, and you will improve your technique. Practice this art from the beginning. If your lips are pursed together or your jaw is clenched, you will play incorrectly. Relax your face, shoulders, and arms, and simultaneously improve your technique.

(5) Sit or stand upright, but keep your neck, arms, and shoulders relaxed. If they are clenched, your technique is incorrect. Concentrate on playing from the wrist rather than from the arm. Occasionally, move your head and shoulders for relaxation.

�3 Introduction

(6) Yoga means breath control. Always speak the mantra aloud and learn to breathe in the rhythm of the mantra, using the same technique as in singing. If the mantra does not have a space for inhaling‚ select a certain point to do so. For example, while playing tere kheta tere kheta... you can inhale on each fourth kheta instead of speaking these syllables. Gradually try to prolong the breathing periods by inhaling every sixth kheta, then every eighth, and so on. This breath control is a kind of prãøãyãma exercise. Although not the main purpose of playing mëdaùga, breath control helps your mind to become alert and concentrated.

Adjust the Shoulder Strap

Adjust the shoulder strap as shown in the photograph. With stretched fingers, your arm should fit between the strap and the mëdaùga body.


Sitting and Standing Positions

In the following, I demonstrate the most common sitting and standing positions. Please try to apply them all, until you can hold any of them for a long time. The positions shown are for right-handed players. Left-handed players will have to reverse the instructions.

(1) This is the standard sitting position for playing bhajana. The left leg lies flat on the ground, with the heel at the right side of the pelvis. The right leg is put above the left leg, with the right ankle resting on the left knee. The thigh and shank of the right leg offer a natural support for the mëdaùga. The small head should be slightly raised and turned away from your body so that it is clearly visible to someone facing you.

Generally you do not need the shoulder strap, because the mëdaùga rests firmly on the leg. If you do need to use it—for instance, if you want to change to a standing position—put the strap around your neck rather than around your hips. Place the right arm behind the strap, and the left arm in front, as seen in the photograph. One advantage of this position is that the right toes can swing freely, and you can wrap small ankle bells around them to show the rhythm. This is often done in professional bhajana performances.

�� Introduction

(2) If your legs get stiff in the previous position, you can change to this relaxing position by laying the right foot in front of the left knee. Don’t put the right foot under the knee, because the mëdaùga would not be supported and would slip down. Practice changing from position (1) to (2) and back again without using your hands so that you can continue to play without interruption.


(3) Årì Caitanya Mahãprabhu would usually play in this position. Starting from position (2), the right leg is turned to the right side until the foot rests beside the right pelvis; the right foot can be either turned aside, as in the photograph, or stretched backwards. The left foot lies under the pelvis. You have to use the shoulder strap, because the mëdaùga is not supported on the legs. Again, you can change between the different positions while continuing to play.

�� Introduction

(�) If you move the right foot under the pelvis, you come to the kneeling position. The feet can rest either on the upper surface or on the toes. Both positions are very beneficial for the legs and feet. Again, you can move to this position without using the hands.

(�) From position (4), you can move into the standard sitting position for stage performances by raising the right leg and placing the right foot flat on the floor. In this position the body rests on the left foot and shank. On stage, you frequently have to change from sitting to dancing, depending on the mood of the kìrtana. As shown in photographs 5c, 5d, and 5e, you can easily get up from this position while continuing to play. Notice that in all the positions the hands are naturally situated in their customary playing positions.


(�) These are various dancing positions. To dance while playing the mëdaùga is an intricate and beautiful art. You can assume any one of these positions and change from one position to another during kìrtana, according to the mood. Try to avoid standing still when

�� Introduction

you play; it is not interesting for you or for the audience. If you try to express the mood of the kìrtana by appropriate positions, you will play much more dynamically, and the kìrtana becomes more fired up.

All the above positions are interchangeable. You can switch from one position to another according to the mood of the kìrtana and the demands of your body. Your daily practice also becomes more diversified if you vary positions.

Always take into consideration the six general rules on posture listed above.

First Month

First MonthHasta-Sãdhana—Hand Practice

Hasta means “hand” and sãdhana means “that which makes perfect.” These hand practices are essential for learning to play the mëdaùga. They enable you to master the different techniques and mantras, and they help you to understand the basic rhythms. Practicing hasta-sãdhana is like learning the letters of the alphabet. Practice these mantras steadily every day.

Æ HS 1 #tere#kheta

Æ HS 2 #tere#kheta#tere#tere#kheta

Æ HS 3a #terekheta#terekheta#teretere#terekheta

Æ HS 3b #tikhitakhi#terekheta#khetatakhi#terekheta

Æ HS 3 #terekheta#terekheta#teretere#terekheta#tikhitakhi#terekheta#khetatakhi#terekheta

�3 First Month

Translation

te Right 4 closed

re Right thumb

khe Left Closed

ta Right 4 open

teretere (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

Æ Tere kheta (HS 1) is the bìja-mantra of the mëdaùga. Bìja means “seed;” all other mantras come from this mantra, just as 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

�� The Twelve-month Mëdaùga Coursefoundation for all mantras to come. If you find it too boring, see it as a test of your determination to learn the art of mëdaùga playing.

Æ To play this mantra properly, you have to accentuate the first syllable, te. Beginners tend to play khe stronger than te—thus it sounds like kheta tere kheta tere. This is not right. Listen to the CD or MC for the correct sound.

Æ To play a mantra continuously means that after completing the mantra you repeat it immediately. To help you find the rhythm, we have inserted the mãtrã dashes. Mãtrã means “beat;” the small vertical dashes above the syllables help you to count the beats 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. If necessary, take the help of a metronome for some time.

Æ 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 play kìrtana mantras. Therefore, practice this mantra for about one week, until you are able to play tere tere swiftly. Please study carefully the section about stroke techniques (page xxx).

Æ Then you should be ready to go to the next two mantras. In HS 3b, a new technique is introduced. Kheta takhi means the stroke order is reversed. Instead of playing 4 fingers—thumb, you play thumb—4 fingers. Again, refer to the section about stroke techniques. Practice both mantras for a few days.

�� First Month

Æ Finally, practice HS 3. It is HS 3a and HS 3b combined, so you should be able to play it without difficulty. It is the basic hasta-sãdhana mantra. You must play it regularly for the next few months. At least once or twice a week you should practice this mantra for one or two hours. By doing so, your hands will become very smooth, and you will gain a clear, sweet, and powerful stroke.

Improving the HandsRegular and concentrated hand practice is essential to make

your stroke sweet and strong. Only with practice will you be able to produce proper sound, rhythm, and melody on the mëdaùga. Practicing the hasta-sãdhana mantras enables you to produce good sound. If you practice hasta-sãdhana every day from the beginning, you will not struggle to improve your hand technique. But you need a lot of patience and tolerance. Without determined patience, learning to play the mëdaùga is very difficult.

Attaining the MoonI clearly remember when I moved to the house of my first mëdaùga

guru. I was seven and a half years old. One evening, my guru asked me, “Why do you want to learn the mëdaùga? There are so many other nice instruments that are much easier to learn. Better you don’t start.” Of course, he wanted to test my determination. He said that although the mëdaùga looks like an ordinary instrument made of cowhide and a clay barrel, it is not at all ordinary.

�� The Twelve-month Mëdaùga CourseThen he pointed to the dark sky and said, “Do you see the full

moon? It may look very close, as if you can reach it with your hand. But it is far, far away. And what can you see from here? Just a white disk with a rabbit’s footprints. [One Sanskrit and Bengali name for the moon, åaåãùka, expresses that the spots on the moon resemble the footprints of a rabbit.] But the closer you go to the moon, the more you discover its many different features. And if you go very close, you find that the moon is actually a heavenly planet, populated by elevated beings who enjoy a life of great comfort.

“Learning mëdaùga is like approaching the moon. The mëdaùga may seem very close and easy to learn, just an ordinary clay drum, but in reality it is far, far away. To understand and appreciate the greatness and depth of this instrument takes at least one lifetime. The more you practice, the more you discover that mastering the mëdaùga is still far, far away. And the more you learn of its intricacies, the more you become amazed and stunned by the sweetness and unending variety of sounds and melodies it produces.”

In this way my guru simultaneously scared me and enticed me. Then he brought forward a second argument: “Better you don’t learn the mëdaùga, because playing this instrument will help you advance in devotional life, and that is what people don’t want nowadays. Better you go to some school and learn other skills that will help you enjoy material life. All you get from learning the mëdaùga is devotion to Këòøa, but you will stay poor. If you want money, then learn something else.”

In his teaching career, my guru had seen many students coming to learn from him and then leaving—some after a few lessons, some after

�� First Month

several years, but hardly any of them would stay to complete their education. He was therefore anxious to accept only sincere disciples, and so he tested me. But I remained determined and said, “Please teach me. If you don’t teach me, how can I go back to my home? My mother is waiting there, eager to see me learning from you.”

Seeing my childish resolution, my guru mercifully accepted me and started to teach me. After a few years, another test came. One day he took a bag with 200 or 300 grams of mustard seeds and threw them on the floor. Then he said, “Now Bãblu, pick them up nicely. But you have to take them one by one, with your fingers.” Seeing the floor covered with thousands of mustard seeds, I sighed inwardly and thought, “Oh no, how can I pick up all these seeds?” But my guru had given the order and I had to follow. I picked up all the mustard seeds while my guru was watching me. It took a long time to complete the task, and then my guru asked, “So, did you feel any difficulty or suffering?” With deep conviction I replied, “No, because my service is to follow your order.” Upon hearing my answer, he became very satisfied. Years later, when I had completed my education under his guidance and gone on to learn more from my next guru, he reminded me of that incident and said, “Bãblu, you will surely learn mëdaùga, without any doubt, because you have so much patience and tolerance.”

At that moment I understood that patience is important. Without patience you cannot learn anything, what to speak of the moonlike mëdaùga. Therefore, if you want to learn the mëdaùga and make your hand strong and sweet, develop steady determination, and patiently practice hasta-sãdhana every day.


The Seven Rules of Practice(1) Memorize the MantraBefore playing any mantra, you must learn it by heart. To practice

while looking at your mantra book is a bad habit. Keep the book closed. How will you focus your attention on your hands if your eyes are busy reading the syllables of the mantra? Therefore, take the time to learn it properly. This does not mean only the syllables. In your inner vision you should be clearly conscious of what you have to play: 4 fingers open, 3 fingers closed, and so on. Try to visualize the course of the hands on the mëdaùga while memorizing the mantra. This kind of mental training helps you to quickly adopt the mantra and translate it into a sweet sound.

Whenever I learned a new mantra from my guru, he gave it to me without any explanation, because first I had to learn the mantra by heart. If I had not memorized it by the following day, he would finish the class immediately and send me away to learn the mantra properly. In this way he ensured that I always learned the mantra.

(2) Find the Proper BalanceWhen starting to practice, play very slowly and try to find the balance

between both hands. Discover how the hands either simultaneously or alternately produce the mantra. When you play dhei, jha, or tha, both hands should touch the drumheads at exactly the same time. When you play guru gur or khene nere khena, each beat must come in sequence, one after the other. This is the first essential point in playing any mantra.

�� First Month

Therefore, practicing at a very slow speed is of utmost importance. Even if you can play a mantra easily in double speed, always start your practice by playing very slowly for some minutes. By doing so, your stroke improves tremendously, and you obtain a clear feel for the rhythm.

Later, when you play at the normal speed of the mantra, concentrate on the balance of the hands in terms of their mutual dependence. The left hand, by following the pace set by the right hand, provides the basic rhythm, and the right hand decorates the rhythm with peak sounds. Both hands are balanced in a well-defined way, according to the specific mantra. The right hand is more active; generally it is playing at least two times more often than the left hand. To find and feel the balance is essential in playing the mantra.

(3) Produce a Clear StrokeAfter having found the proper balance between both hands,

continue to play slowly while concentrating on the various strokes. Try to play the open and closed sounds in their proper sequence. While playing tere kheta, for instance, play te clearly closed and ta clearly open. Be conscious of how the hand assumes different postures to produce the various sounds. A closed sound is more sharp and emphasized than an open one. In this way the melody of the mantra starts to evolve.

Hearing is most important. Try to perceive with your inner ear how the mantra should sound ideally (listen attentively to the enclosed CD or MC before practicing). Then, while practicing, listen to the sound produced by your hands. Is it according to your inner perception? If

�0 The Twelve-month Mëdaùga Courseyou don’t like the sound, others won’t like it either. Be persistent and patient to improve your stroke until your inner perception and your outer hearing are identical.

(�) Gradually Increase the SpeedHow to increase the speed will be explained later in this chapter.

Most important is that an increase in speed must never be at the expense of a clear stroke. Therefore, continue to listen attentively to your playing.

(�) Speak the Mantra while PlayingSpeaking the mantra while you play helps you in two ways. First,

you learn to sing while playing the mëdaùga, because your tongue becomes accustomed to moving independently of your hands. A mëdaùga player who cannot sing while playing is not considered a real kìrtanìya. Second, you learn to play the mantra just by speaking it. Mantra means manas trãyate, “that which liberates the mind.” By speaking the mantra while playing, the mind gradually becomes free from the task of thinking about moving the hands. If you make this a regular habit, then just by thinking of a mantra, your hands will produce it automatically. This is the perfection of playing. Otherwise, to play the countless variety of mantras during bhajana and kìrtana is impossible.

Only when you feel the mantra is appearing naturally, without thinking, should you stop speaking the mantra. The test is that you can sing, read a book, or hold a conversation while playing. Eventually you have to play any mantra without thinking, because later, in kìrtana,

�1 First Month

all your concentration has to be directed toward the other kìrtanìyas. There will be no time to think of the mantras you want to play. It has to come spontaneously.

(�) Find the RhythmWhen you play the mantra in its natural speed (generally in double

speed), its inner rhythm starts to evolve. Try to find the rhythm and concentrate on following it for a long time. Discover how the mëdaùga begins to speak. Any hãtuti played in single speed is just a sequence of single beats. It may even sound boring, but as soon as it is played in double speed, it starts to speak. Listen to the enclosed CD or MC to hear this amazing effect, and then, as your technique improves, try to produce it yourself.

Please remember that you must not increase your speed at the expense of quality. Always maintain the proper balance between the hands, play with clear strokes, keep your speed, and attentively listen as you speak the mantra.

If you have difficulty keeping the beat, you can use a metronome. Adjust it to a speed you can easily follow and practice for a long time. Try to get a feel for the speed.

If your feel for rhythm and speed is not distinct, carefully concentrate on keeping the balance of your hands by loudly speaking the mantra as you practice.

Another way to come to a natural understanding of rhythm and beat is to speak the mantra without playing.

�2 The Twelve-month Mëdaùga Course(�) Make your Hands LooseUnless your hands find the natural way to move to make the

different beats, you have to exert a lot of energy to produce the beats. After long, continuous practice, the hands learn to move in the proper way. Then the movement of the hands becomes soft and natural, and there is no artificial endeavor. Try to attain a state of technical perfection by concentrating on making your hands loose. If you play too fast, the hands become stuck. Slow down slightly. Find the course of motion that demands the least energy. Often, by just a slightly different angle of the wrist the desired result is obtained. Carefully study the section about the different stroke techniques (page xxx).

Also, never forget your foremost teacher, namely Këòøa Himself, who is situated as Paramãtmã in your heart. Always pray to Këòøa while practicing and make yourself dependent on Him. Pleased with your humble attitude, Årì Këòøa will surely help you by directing the motion of your hands. After all, practicing the mëdaùga with the proper attitude is pure devotional service, because it aims solely at pleasing Këòøa.

Always concentrate your mind on following these seven points. Patiently practice every mantra in this way. Then you will make quick progress. Your hands will become soft and strong, producing sweet, melodious beats, and your mind will become very steady and concentrated. In time, you will be able to play the mantras you have learned in the most ecstatic kìrtanas. Your mind will be absorbed in the blissful waves of këòøa-prema and will be completely detached from the movement of your hands, which automatically and independently produce sweet rasa-mãdhurì melodies.

�3 First Month

Master by One MantraTo practice one mantra for a long time is better than to change

mantras every few minutes. The amazing story of Keramutulya Khan illustrates this principle.

Keramutulya Khan lived in the last century; he is celebrated as the greatest tabla player of all time. As a young boy, he humbly approached a famous tabla guru and asked to become his disciple. The guru, seeing Keramutulya’s eagerness, agreed and gave him the first mantra. He said, “Practice tete keta taka taka. When you think that you can play it properly, come back and I will check. If I am satisfied, then you will get the next mantra.” Tete keta taka taka is the bìja-mantra of the tabla. It is the same as tere kheta on the mëdaùga.

Little Keramutulya practiced this mantra every morning for four hours. However, he never became really satisfied. He thought, “My guru said I should return only if I can play this mantra properly. But it’s not perfect yet. I have to practice more.” In this way, twenty years passed. Finally, even though he was not fully satisfied, but a little confident, he decided to approach his guru and ask him to check how he played the mantra. When he entered the guru’s house and offered his obeisances, he was no longer a small boy but a handsome young man. His guru, who had forgotten young Keramutulya, asked, “Who are you? Why do you pay obeisances like a disciple?”

Keramutulya answered, “Dear Guru Maharaja, I am your disciple, Keramutulya. Don’t you recognize me?”

Slowly the guru remembered the eager young boy who had received the bìja-mantra and then never showed up again. He said, “Ah, it’s

�� The Twelve-month Mëdaùga Courseyou! Once I gave you a mantra and you never came back. And now you want to try again? Do you think you will have more patience this time?”

“Guru Maharaja, I never gave up practicing. But you advised me to come back only when I can play the mantra properly. For twenty years, four hours a day, I have continued to practice tere keta taka taka. I still don’t think I can play it properly, but maybe you can check me now and help me to improve?”

Upon hearing that his disciple had practiced the same mantra for twenty years, the guru became astounded. He brought a tabla and said, “Show me this mantra!”

Keramutulya Khan took the tabla and started to play tere keta taka taka: first slowly, then faster, and faster, and faster. The sweetest sound came from the instrument. The mantra appeared so fast that his guru could hardly follow it. The sound and technique were perfect. The guru had never heard such a wonderful exhibition on the tabla: sweet and dynamic and moving to the heart. By hearing his disciple’s playing, the guru became absorbed in meditation. For the first time he heard the bìja-mantra fully blossoming and revealing the whole capacity of the instrument. Deeply affected, he remained stunned, with eyes closed, fully relishing the sweet nectar of sound brought forward by his disciple.

Keramutulya Khan saw his master motionless and without response. He became scared and stopped playing. He asked, “Guru Maharaja, why don’t you say anything? Is my playing not yet proper?” The guru abruptly rose from his meditation and said, “Not proper? It’s perfect! Marvelous!” He fell at his disciple’s feet. “You don’t

�� First Month

have to learn anymore. You know everything on the tabla, because you have mastered the bìja-mantra perfectly. Now I am your disciple. Take these books! In them, I have written down all the mantras I know. Now you take them and show me how to play them. No one else can do it.”

Keramutulya Khan became the most celebrated tabla player of all time. Of course, we don’t want to encourage anyone to follow his example and play tere kheta for twenty years. But the principle is clear and should be applied. Better to practice one mantra at a time with full concentration than to jump from one to another. Based on this rule, we have set up the following practice schedule for the students of this book.

Arrange Your Practice TimeIdeally, one should practice four hours or more every day, without

interruption. The best time, as with all spiritual activities, is the early morning hours, especially during brahma-muhúrta (it starts 48 minutes before sunrise and lasts for 96 minutes). Of course, only devotees who aspire to become professional musicians will keep such a rigid schedule. Otherwise, we have to adjust our practice to the requirements of sãdhana and sevã. You should practice at least one or two hours daily, at a regular time and as early in the morning as possible. If you learn to play the mëdaùga for the pleasure of Krsna, and if you pray to Këòøa, He will surely make all arrangements for your learning and practicing.

By practicing on a wooden model of the mëdaùga for some time, your hands become very strong and the fingers become tough and accustomed to the strokes. This method was used in ancient Vedic

�� The Twelve-month Mëdaùga Coursetimes, and we can read in åãstra that it was employed in the ãårama of Vasiòóha Muni. My guru also ordered a wooden mëdaùga for me, and for three years I practiced on it. If you can obtain such a mëdaùga, invest thirty minutes of your time for this exercise.

Now, suppose you find two continuous hours to practice every day. The first fifteen or twenty minutes you should play tere kheta tere kheta, as a warm-up. Start slowly and increase until you reach the maximum speed that you can play with ease. Carefully stick to the seven points mentioned previously.

Then, following the lessons in this course book, take one mantra and play it for one hour. Best is to play one mantra for one hour than to hurry through many different mantras.

For the rest of your time you might repeat some of the mantras you have already learned, especially any that are difficult. If you stick to these principles steadily, with patience, after one year you will have a solid foundation. You will be able to nicely play all the mantras presented in this course book.

If you practice only one hour a day, practice one mantra for the hour. If you are fortunate enough to have more than two hours, then practice one mantra for two hours—preferably hasta-sãdhana or hãtuti—and another mantra in the remaining time.

Traditionally, any mantra is played in the following way:

Æ For the first fifteen minutes practice very slowly, with a constant speed.

�� First Month

Æ Then, without stopping, double the speed and continue for fifteen minutes. Carefully keep the speed, becoming neither faster nor slower.

Æ Then, without stopping, double the speed again and continue for fifteen minutes. Now you are playing four times faster than in the beginning.

Æ Finally, without stopping, double the speed again and continue for fifteen minutes. Now you are playing eight times faster than in the beginning.

Æ Then, go back to the beginning speed and repeat the same sequence for another hour.

Æ After a short pause, go to the next mantra.

This is a very advanced level, which has to be approached gradually. For all the mantras in this course we recommend the following practice schedule:

Æ For fifteen minutes practice the mantra very slowly. Concentrate on points (2) and (3) of the seven rules (balance and clear stroke).

Æ Then increase the speed, and play constantly for fifteen minutes.

Æ Then increase the speed again, and play for another fifteen minutes. Your speed should be more than twice your initial speed but not faster than you can play constantly for fifteen minutes.

�� The Twelve-month Mëdaùga CourseÆ Then increase the speed again, and play as fast as your hand can

easily produce the mantra. If you get tired or stuck, go back to the previous speed. If that is still too fast, slow down but don’t stop.

Try to play for one hour without stopping. As soon as you stop, the power you have gained will be lost. After one hour, allow your hands a short rest before repeating the above sequence.

Let your hands find their ideal speed. Don’t push too much to play fast. Concentrate on making your hands loose, and allow them to produce the mantra nicely. You have the desire to become fast, and your hands will soon follow that desire and take you to a higher speed. To increase the speed but lose a clear stroke is useless labor. Training the hands is a matter of constant, patient practice. Passionate endeavor with too much attachment to a quick result will cause trouble and frustration. As with all spiritual practices, you must endeavor with steady determination and at the same time become detached from the fruit of your endeavor. Then the result will come.

Second Month


Second MonthHãtuti

Learning to Speak on the MëdaùgaMake your hands perfect by practicing hasta-sãdhana. With these

mantras you develop a clear, strong, sweet stroke, and you learn to concentrate your mind. Your feel for rhythm and the balance of your hands is also acquired, and you learn to sit with the mëdaùga and hold it properly.

As mentioned before, practicing hasta-sãdhana is like learning the alphabet of the mëdaùga. In this chapter the different words are introduced. They are called hãtuti. Hãt means “hand” and tuti, “repeating again and again.” Like hasta-sãdhana, the different hãtuti mantras should be repeated again and again, for one or two hours continuously. The difference between hasta-sãdhana and hãtuti is that the hãtuti are part of the language of the mëdaùga. All kìrtana melodies are composed of different hãtuti mantras, either in part or in complete form. Thus, by learning hãtuti, not only will your hands become very strong but you also learn to speak on the mëdaùga by meeting the vast realm of different tãla, rhythms.

The system of learning the hasta-sãdhana and hãtuti mantras is as old as the mëdaùga. It is the foundation of the mëdaùga. The name hãtuti is mentioned in books from the time of the Gosvãmìs. Without learning these mantras you cannot play the proper melodies. In this course we present the first sixteen out of many thousands of

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hãtuti mantras. They give you a solid foundation. Please study them carefully, and practice with determination and patience.

Hãtuti 1 The Mahã-mantra of the Mëdaùga

This mantra is essential for learning mëdaùga. The power in kìrtana and the feel for rhythm and volume come from this mantra. We will therefore spend the next two months learning it. During this month you learn the first part of Hãtuti 1.

It has two different forms. When you play in single speed, you say:

Æ HA 1a #ghenere#ghena#jha#ghenere#ghena#jha#ghena/*#jha

Translation

ghe Left Open

nere (same as tere—played with double

ghe Left open

na Right open

jha Left open + Right 4 Open

When you play in double speed—the standard speed for this hãtuti—you play too fast for you to be able to pronounce the mantra properly. Therefore, when you play in double speed, you say:


daguru#gurda#gurugur#dagur

Translation

da (like jha above, but Right 4

guru (same as ghenere)

gur (same as ghena)

How to practice

Æ The second mantra is an abbreviation of the first. As you see, both mantras are identical, except that you play da with the right hand closed. (The high-pitched da adds a special touch, so carefully observe the difference.) Another difference is that the double-speed mantra bears only four mãtrã dashes instead of eight, because it is played in half the time of the single-speed mantra.

Æ The single-speed mantra starts with the last jha, except at the very beginning. The tãla or beat begins with the first ghenere. The jha at the end of the first line is actually the first beat of the second line. Therefore, we have put the “+” sign above it. This sign is called soma (pronounced “shom” with a long, closed “o” as in yoga). This note is played only if you repeat the same mantra. If you go to another mantra, do not play the last jha. You will meet with this sign again later on.

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When you play the single-speed mantra repeatedly, it is played as follows:

ghenere ghena jha ghenere ghena jha ghena jhaghenere ghena jha ghenere ghena jha ghena jhaghenereghenajhaghenereghenajhaghena~

You do not necessarily start to play a mantra at the beginning. Sometimes the tãla begins somewhere in the middle of a mantra, and you start to play from there. You will see another example of this when we introduce the first kìrtana mantra.

The double-speed mantra, however, always starts with the first da. When you change from single speed to double speed, skip the last jha (because it is soma) and continue by playing da guru gur~. In other words, you play as follows:

ghenere#ghena#jha#ghenere#ghena#jha#ghenajha#ghenere ghena #jha #ghenere ghena #jha #ghena#daguru #gurda #gurugur #da gur#daguru #gurda #gurugur #dagur~

Æ To practice this correctly, begin with the single–speed mantra. Take care that the left hand strikes in a clear, constant rhythm. Study the mantra carefully. It has eight mãtrã dashes, or beat marks. On each of these eight mãtrã you strike on the left side with an open sound, playing either ghe or jha. All these eight strokes should be uniform, like clockwork. Jha should not be louder than ghe. Also take care that you play nere in double

�� The Twelve-month Mëdaùga Coursespeed; otherwise the following ghe will come too late and the rhythm will be broken.

If you carefully observe these points, the mantra will display its full power. Carefully listen to this mantra on the CD or MC.

Æ Practice this mantra every day for two weeks. Start very slowly, saying, “ghenere ghena jha ghenere ghena jha ghena~.” Try to get a feel for the rhythm. Play loudly and concentrate on striking the left drumhead with a constant, uniform rhythm. When you increase the speed, say “da guru gur da guru gur da gur.” Take care to play da with the right hand closed, but don’t make the sound from the left hand louder. This mantra is very powerful. In the first two weeks of the second month, only practice this mantra, but from time to time also practice the hasta-sãdhana HS 3. Don’t rush ahead, thinking you already know either of these mantras. To come to the level required for kìrtana, you need months of steady practice.

Hãtuti 1—Decoration for the First PartThe mantra becomes complete with the following decorations.

First study them carefully, and then practice them separately. To play them properly you have to play faster than you are used to. As you can see, there are only two mãtrã dashes on da guru gur da guru gur da gur.

Æ HA 1b(#daddheita#gurugurdagur#dagurugurda#gurugurdagur)§

Æ HA 1c #daddheita#gurugurdagur)§#dagurugurda#gurugurdagur

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Æ HA 1d(#daddheita)§#gurugurdagur#dagurugurda#gurugurdagur

Translation

dad Left Open + Right 4 closed

dhei Left Open + Right 4 open

ta Right 4 open

gurgurda (as in HA 1a)

How to Practice

Æ Here, an abbreviation is introduced in the mantra language. The scheme (aaa)§means that you have to repeat the part in parentheses three times.

Æ Look at the rhythm. Don’t play dad dhei ta as a triplet. Ta is shorter than dad and dhei. If you divide the mãtrã into eight parts, dad occupies three parts, dhei three parts, and ta the remaining two:

#dad # # #dhei # #

Listen to the CD or MC, and try to get a feel for the rhythm.

Æ If you count the beats, you will see that dad dhei ta is as long as da guru gur da. And dad dhei ta guru gur da gur is as long as da guru gur da guru gur da gur.


HA 1b is 6 times longer than da guru gur da guru gur da gur.HA 1c is 4 times longer than da guru gur da guru gur da gur. HA 1d is 3 times longer than da guru gur da guru gur da gur.

You can use a metronome to help you recognize the rhythm. First speak the mantras out loud while counting the mãtrã on the metronome, and then practice on the mëdaùga.

If these explanations are too technical, listen carefully to the CD or MC and try to follow. But it is useful to understand the mãtrã by studying this paragraph. Then your rhythm will be established on a solid basis.

Æ Take care that dhei is played very strongly; it bears the rhythm of the mantra, especially when you play dad dhei ta dad dhei ta dad dhei ta (in HA 1d).

Æ After the first two weeks, include HA 1b to your practice schedule. First, play HA 1a for ten or twenty minutes until you can play it swiftly and easily, and then play to HA 1b. Practice in this way for some days, and then play the next two mantras. There should be no problem, since they apply the same technique.

Hãtuti 1—The Complete First Part When you can play all the mantras given so far, you are ready to

assemble the parts. For the rest of the second month, practice the following mantra, which is the complete first part of Hãtuti 1:

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Æ HA 1-1 (#dagurugurda#gurugurdagur)&(#daddheita#gurugurdagur#dagurugurda#gurugurdagur)§(#daddheita#gurugurdagur)§#dagurugurda#gurugurdagur(#daddheita)§#gurugurdagur#dagurugurda#gurugurdagur

How to practice

Æ Start slowly, by playing ghenere ghena jha~ for some minutes. Then, change to da guru gur~ and then play HA 1-1 continuously for at least one hour.

What the Mëdaùga Says

yeòãõ årìmad-yaåodã-suta-pada-kamale nãsti bhaktir narãøãõ yeòãm ãbhìra-kanyã-priya-guøa-kathane nãnuraktã rasa-jñãæ

yeòãõ årì-këòøa-lìlã-lalita-guøa-kathã sãdaro naiva karøe dhik tãn dhik tãn dhig etãn kathayati nitataõ kìrtana-stho mëdaùgaæ

“To those people who have no devotion for the lotus feet of the son of Yaåodã; to those whose tongues are not lovingly attached to speaking the transcendental qualities of the beloved of the cowherd girls; to those whose ears are not fond of hearing the kathã of the charming qualities of Årì Këòøa’s divine pastimes, ‘Fie unto them! Fie unto them! Fie unto them!’ Thus speaks the mëdaùga during kìrtana.” (Bhava-sindhu-tãraøì. Translation from

Mahãnidhi Mahãrãja’s Appreciating Navadvìpa Dhãma.)


This verse explains that during kìrtana, the mëdaùga speaks the syllables dhik tãn dhik tãn dhig etãn. These words condemn the material world and those who have no devotion to Årì Këòøa, calling, “Fie unto them! Fie unto them! Fie unto them!” While the mëdaùga condemns such persons, the devotees are being auspiciously engaged in harinãma-saùkìrtana, singing the divine names of the Lord, and their polluted taste for material enjoyment is being thoroughly extinguished.

From this verse we can also learn that the mantras of the mëdaùga have a deep philosophical meaning. On a very advanced level, they directly speak about the divine pastimes of Årì Årì Rãdhã-Këòøa. To produce spiritual sound we must play the mantras carefully. Don’t change or add anything to them.

Control the Mind“Këòøa consciousness is the mind,” Årìla Prabhupãda said. The

whole idea of devotional life is to direct the mind towards Këòøa:

smartavyaæ satataõ viòøur vismartavyo na jãtucit

sarve vidhi-niòedhãæ syur etayor eva kiùkarãæ

“Always remember Këòøa and never forget Him. All other rules and regulations are the servants of these two principles.” This verse gives the fundamental principle of vaidhì-bhakti. It is from the Padma Purãøa, and it is quoted by Årìla Rúpa Gosvãmì in Bhakti-rasãmëta-sindhu.

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In regards to learning to play the mëdaùga as a part of devotional life, we could say, “Always think of the mantra while you are practicing and never forget it.”

The hands are an extension of the mind. When the mind is absorbed in the mantra, the hands easily produce it. If your mind is on the platform of realized consciousness that you are not this body, there is no difficulty in playing the mëdaùga for hours. But if you always think, “I am this hand, and my hand is so tired,” you will struggle after a short time. You can practice for six, eight, or ten hours every day, but if your mind is not attentive, you won’t make real progress. Mantra means manas trãyate, that which liberates the mind. Absorb your mind in the mantra while practicing. Always speak the mantra, either out loud or in the mind. Meditate on your hands: how they have to move, where they have to strike the drumhead, how to make them loose and soft. Never allow your mind to think of something else. You have to become so absorbed in the mantra that it becomes a part of you. Then, gradually, the mind becomes free, and you don’t have to think of what you are playing.

When you are playing in kìrtana, all your attention is demanded. You have to catch the melody, you have to cooperate with the other kìrtanìyas and respond to their mood, you have to listen to the words of the song and meditate on their meanings. You are playing këòøa-kathã, and your devotion must arise. There is no time to think of anything else. From the beginning, try to concentrate.


Concentration Comes Through PracticeIf you concentrate when you practice playing the mëdaùga, you

will derive so much benefit, beyond the mere ability to participate nicely in kìrtana. You will conquer your mind. It will become steady, peaceful, and fixed in devotion to Këòøa. And I request parents, “Please allow your children to learn mëdaùga in the bona fide way. It will help them so much in their life.”

“Wait a moment,” you may say, “what you are describing is a very high level. Who can control his mind so perfectly that he can practice with complete absorption in the mantra, without thinking of anything else? Even Arjuna said (Bg. 6.34):

cañcalaõ hi manaæ këòøa pramãthi balavad dëîham tasyãhaõ nigrahaõ manye

vãyor iva su-duòkaram

The mind is flickering. It behaves like a restless child—turbulent and obstinate. And it is very strong! Arjuna says that controlling the wind is easier than subduing the mind. And he was a mighty kòatriya, trained in sense and mind control from his childhood. What then can we say? What is our chance to come to that level? We cannot even chant one round of the mahã-mantra without distraction.”

Këòøa agrees with Arjuna; to control the mind is very difficult. Mëdaùga playing is a vast subject, and learning it is like aspiring for the moon. Still, it is possible to learn. Këòøa answers Arjuna’s doubt: abhyãsena tu kaunteya vairãgyeøa ca gëhyate. The key to controlling the mind is abhyãsa, constant practice and vairãgya, detachment.

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The same principles that are valid for spiritual life can be applied to all fields of Vedic knowledge, including mëdaùga practice.

I once heard an amazing story that illustrates this point. In the last century in England there lived a veterinarian who was famous for his expert dealing with animals. He knew their hearts, and he never had to apply force to convince any creature to accept his sometimes unpleasant treatments.

One summer morning a farmer called him. One of the horses had jumped over a high fence and hurt its leg. It was not a big wound, but it had to be treated with care or flies would cause the wound to become infected. In summertime, a wound on a horse’s leg was a matter of life and death.

The vet arrived at about ten o’clock in the morning. He saw a fancy scene. About twenty men, armed with ropes, were running after the horse, trying to catch it. The horse was running loose on a huge grassy hill, and it skillfully opposed all attempts to capture it. Obviously, the horse was having fun with the breathless, sweat-soaked men, who were excitedly yelling to each other.

The vet recognized the horse. It was strong and beautiful but wild and ill reputed. It often cleverly escaped and then bit and kicked those who tried to catch it. Amused, he watched the medley for some time, and then he asked the men to leave. He picked up a halter, since the horse was not wearing a harness. Holding the halter in his hand, he walked toward the horse, peacefully, silently, and neither quickly nor slowly. His behavior was completely different from that of the other men. He approached the horse in a natural way—no calling, no decoying, no hesitating, no excitement. His pleasant mood seemed to

�2 The Twelve-month Mëdaùga Coursesay, “Hello, here I am. Let’s go to the stable now and have a look at your leg.”

The horse recognized that the situation had changed, and without moving, it carefully watched the vet. When he came close, only an arm’s length away, it wheeled around, lashed out heartily, and galloped off. After a few dozen yards it stopped and turned around. Looking at the vet, it seemed to say, “Now try to catch me if you can. I’m faster than you.”

Placidly the vet walked towards the horse again. His manner and temper did not change. When he could almost touch the horse, it wheeled around, ran off some distance, stopped, and roguishly watched the vet coming toward it.

For hours the game was repeated. The vet didn’t stop, nor did he become angry. He remained calm and detached, and continually followed the horse with determination. At eight o’clock in the evening the horse surrendered. Peacefully, it allowed the vet to put on the halter and lead it to the stable. From that day on, it was exceptionally tame and never ran away again.

This is a perfect illustration of abhyãsa and vairãgya. Treat your mind like a horse. Be persistent and determined in your practice, but never lose your temper or become impatient. Whenever you become discouraged, bored, or doubtful in your practice, try to understand that this is just your mind, roguishly gazing at you and saying, “Come, try to catch me. I’m stronger than you.” And your mind is stronger, but if you are more determined and patient, your mind will surrender. Maybe the next day it will break out again. Then catch it in the same

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way, with patience and determined practice. This is Këòøa’s advice (Bg. 6.26):

yato yato niåcalati manaå cañcalam asthiram

tatas tato niyamyaitad ãtmany eva vaåaõ nayet

The mind is flickering and unsteady; it will always escape like a wild horse. But if you withdraw it again and again, it will surrender.

But don’t break it by force, or it will become lifeless and dull. Therefore, Këòøa says: abhyãsena ca vairãgyeøa, be detached in your steady practice. If you practice with attachment to the result, you will quickly become frustrated and discouraged, and if you break the mind, you will lose all taste. Just practice. Don’t think that you have been practicing for so long and still there is no result. The result will come in due course of time. Remember that the mëdaùga is far away, like the moon. If you are sincere but detached, Këòøa will help you and you will attain the moonlike mëdaùga.

Third Month


Third MonthHasta-Sãdhana

This mantra prepares your hand for the second part of Hãtuti 1.

Æ HS � #ghenenere#ghenageda#khenenere#khenakheta

Translation

ghe Left openne Right thumb (same as re)nere (like tere)ghe Left openna Right 4 openge Left openda Right 4 closed (strong and

sharp sound)khe Left closedne nere (as above)khe Left closedna Right 4 openkhe Left closedta Right 4 open (not strong like

the da above)

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How to practice

Æ An important technique is introduced here. On ne nere, 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 drumhead and then moves down to play the first ne. Carefully study the explanation in the technical section (page xxx).

Æ Take care of proper balance of your hands. All eight strokes of each line have to follow each other in exact sequence, one after another. When you play fast, you might tend to play ghena or khena as one stroke. Avoid doing that to keep the proper rhythm.

Æ Notice also that da is played very strongly, with a sharp, closed sound. It is underlined to show this emphasis. This note bears the melody. Ta in the second line, however, is played without emphasis. Listen to the CD or MC to hear the difference.

Æ Practice this mantra for one week. You have to come to double speed to apply it in the second part of Hãtuti 1. Also practice HA 1-1 and HS 3 for one or two days.

Hãtuti 1—The Second PartYou first learn the basic mantra and then some decorations (as in

the first part). The basic mantra of the second part also has a single-speed mantra and a double-speed mantra.

�� The Twelve-month Mëdaùga CourseAgain, the mantra is pronounced da, guru, and gur, but in this

mantra these syllables mean something different. Carefully study the translation before starting to play.

Æ HA 1e #daderedereghena #daderedereghena #jhaghena jhaghena#dagurugurugur #dagurugurugur #da gur dagur

Translation

da Left open Right 4

de Left open Right 4

re Right thumb

ghe Left open

na Right 4 open

jha Left open Right 4 open

ghena ( a s

da (as da

guru (like dere)

gur (like ghena)

How to practice

Æ Now you can test if you have practiced tere tere properly, since this is what your right hand plays on guru guru. You must play fast, because this is a double-speed mantra.

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Æ Again notice that jha changes to da when you speak da guru gur. For da you have to play with the right hand closed instead of open, as in HA 1-1.

Æ Proper balance of your hands is very important for this mantra. Be careful of the following points:

Æ On the gu of guru guru (dere dere), both hands must strike simultaneously. Your right hand might tend to be slightly delayed, and then your playing will be incorrect.

Æ On gur (ghena), avoid playing the ghe and na simultaneously. They must come in a clear sequence, one after the other.

Æ The left hand beats with a constant, uniform stroke (as in the first part of Hãtuti 1). It beats twelve times in this mantra. Study again the explanation to HA 1a (page xxx).

Æ Practice this mantra for one week or more until you can play it as fast as the first part.

Hãtuti 1—Decoration for the Second PartHere, we introduce another abbreviation of a mantra, gher geda,

which is often used in kìrtana mantras. Study the following notation. You can see that the hasta-sãdhana HS � prepares you for this sequence.

#ghenenere ghenada#gher geda


Translation

ghene nere (like in HS �, 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

Æ Notice 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 notice that da is played with a sharp, strong right-hand stroke, but the left hand does not get stronger. This needs some practice.

With these explanations, you can understand the following mantras:

Æ HA 1f (#ghergeda#gurugurgurugur #dagurugurugur#dagurugurugur#dagurdagur)§

Æ HA 1g (#ghergeda#gurugurgurugur)§ #dagurugurugur#dagurugurugur#dagurdagur

Æ HA 1h (#ghergeda)§#gurugurgurugur #dagurugurugur#dagurugurugur#dagurdagur

101 Third Month

How to practice

Æ First, study the timing. The following parts are the same length:

Æ da guru guru gur

Æ da gur da gur

Æ gher geda

Æ guru gur guru gur (which is the same as dere ghena dere ghena).

Æ If you have practiced nicely up till now, you should be able to play these mantras within a few days. Practice HA 1e continuously for ten or twenty minutes: start slowly and increase the speed until you can play quickly and easily, and then play HA 1f. Practice like this for some days, and then add the two remaining mantras (HA 1g and HA 1h).

Hãtuti 1—The Complete Second Part When you can play the mantras given above, you should be ready

to assemble the parts and play the complete second part of Hãtuti 1. Practice for about one week until you can play it with ease.


Æ HA 1-2 #dagurugurugur#dagurugurugur#dagurdagur(#ghergeda#gurugurgurugur #dagurugurugur#dagurugurugur#dagurdagur)§(#ghergeda#gurugurgurugur)§ #dagurugurugur#dagurugurugur#dagurdagur(#ghergeda)§#gurugurgurugur #dagurugurugur#dagurugurugur#dagurdagur

How to practice

Æ Notice that, unlike HA 1-1, the first line is not repeated.

Hãtuti 1—Ending (Tehãi)Here we introduce a mantra that is played at the end of Hãtuti 1.

This kind of mantra is called tehãi. (You will read more about tehãi later.)

Æ HA 1-TEH (#terekheta#gighinake/#jhagurugur)§

Or #terekheta#gighinake#jhagurugur#terekheta#gighinake#jhagurugur#terekheta#gighinake

103 Third Month

Translation

tere kheta (as usual)gi Left openghi Left open (stronger than na Right 1 upke Left open (not strong)jha Left open

+Right 4 open

(strong)guru gur (as in HA

How to practice

Æ Look at the notation. The scheme

(aaa bbb/ccc)§stands for: aaa bbb ccc aaa bbb ccc aaa bbb.

It is the standard system for dividing a mantra. 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 the mantra HA 1-TEH continuously, you play the following without space between the beats:


terekhetagighinakejhagurugurterekhetagighinakejhagurugurterekhetagighinaketerekhetagighinakejhagurugurterekhetagighinakejhagurugurterekhetagighinake~

If you play the tehãi at the end of the hãtuti, you go back to the beginning of the hãtuti after the last tere kheta gi ghi nake without stopping. This system is applied by all tehãi, so study it carefully.

Æ Again, study the timing by counting the mãtrã dashes. The following parts are the same length (one mãtrã):

Æ da guru gur da (in HA 1-1)

Æ da guru guru gur (in HA 1-2)

Æ tere kheta (in HA 1-TEH)

Hãtuti 1 is a double-speed mantra. You can see that in the same time that it takes to play tere kheta (normal speed) in the tehãi, you have to play da guru gur or da guru guru gur (double speed).

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

10� Third Month

Hãtuti 1—The Complete MantraNow we can assemble all the parts and play the complete Hãtuti

1.

Æ HA 1 (#dagurugurda#gurugurdagur)&(#daddheita#gurugurdagur#dagurugurda#gurugurdagur)§(#daddheita#gurugurdagur)§#dagurugurda#gurugurdagur(#daddheita)§#gurugurdagur#dagurugurda#gurugurdagur#dagurugurugur#dagurugurugur#dagurdagur(#ghergeda#gurugurgurugur #dagurugurugur#dagurugurugur#dagurdagur)§(#ghergeda#gurugurgurugur)§ #dagurugurugur#dagurugurugur#dagurdagur(#ghergeda)§#gurugurgurugur #dagurugurugur#dagurugurugur#dagurdagur(#terekheta#gighinake/#jhagurugur)§

How to practice

Æ Play the whole mantra without any gaps. There is no space between the first part and the second part, or between the second part and the tehãi. And at the end go immediately back to the beginning.

10� The Twelve-month Mëdaùga CourseAfter having played tere kheta gi ghi nake for the third time, go back to da guru gur da guru gur da gur without stopping. In other words, at the end of the mantra, you play:

da guru guru gur da guru guru gur da gur da gurtere kheta gi ghi nake jha guru gurtere kheta gi ghi nake jha guru gurtere kheta gi ghi nake (go back to the beginning)da guru gur da guru gur da gur~

Æ This mantra will be your main object of practice for the next month. Try to come to double speed. Particularly observe the change from the first part to the second part; there should be no pause in the rhythm of the left hand, and the right hand has to play guru guru (or dere dere) in time. You will derive great benefit from this training.

Taste Comes Through DeterminationThe argument might be raised that to practice every day for a fixed

time is not easy when there are so many things to do. The answer is that you must develop a taste. If you have a taste for practicing, you will certainly find time for it, no matter how busy you are. For example, at prasãdam time, especially if there is a big feast, every devotee finds the time to eat. And when people fall in love, they have all the time in the world for each other. Therefore, fall in love with årì mëdaùga.

10� Third Month

There is a secret to developing a taste. The following story that demonstrates this:

Once, a brãhmaøa lived in Navadvìpa. Every day he would go to the Gaùgã, set up a small altar, and with love and devotion, worship his Girirãja åìla by offering Gaùgã water and Tulasì leaves. For many, many years he maintained his pújã (worship), and his devotion expanded accordingly. Eventually, he became very old. Only with great exertion could he maintain his sãdhana. Worrying about his åìla, he thought, “I will die soon and I have no son. Who will worship my beloved Girirãja?” He prayed to the åìla to send someone to continue performing the pújã.

One day, to his amazement, the brãhmaøa saw the king coming to the Gaùgã to take bath, below the place where he performed his pújã. The king, accompanied by a small entourage, had come from the distant capital city to Navadvìpa to attend to some diplomatic affairs. While in Navadvìpa, he was taking the opportunity to take bath in the Gaùgã. The brãhmaøa watched as the king came down from his palanquin and prepared to enter the Gaùgã. The brãhmaøa had never been to the capital, and this was the first time he had seen the king. He understood that such an extraordinary meeting could only happen by divine arrangement. He knew that the king was a staunch follower of the Vedic principles, always righteous and magnanimous towards his subjects, but at the same time, being an atheist, the king was demoniac. The king would never agree to worship a Deity of Këòøa, what to speak of taking care of a Girirãja åìla.

The brãhmaøa had a strong feeling that Këòøa wanted to bestow His causeless mercy upon the king. The brãhmaøa decided that

10� The Twelve-month Mëdaùga Coursesomehow he had to induce the king to take Girirãja. He silently prayed to Këòøa for inspiration. When the king finished taking bath, the brãhmaøa approached him. Upon seeing the brãhmaøa, the king immediately bowed down and greeted him respectfully.

The king said, “Today is a very auspicious day for me, because a sãdhu has witnessed my taking bath in the Gaùgã. Dear svãmì, what can I do for you? You know that I always respect and protect the brãhmaøas. Please express your desire.”

“O King,” replied the brãhmaøa, “I am an old man and I will die soon. I have no desire left in this world, but I am concerned about one matter. I have to go to my home town, visit my relatives, and arrange some affairs before I retire from this world. I am old and weak, hardly able to walk such a distance. Please take care of my Girirãja for the time being, and relieve me from the burden of carrying Him there.”

The king became displeased. He said, “I shall do what? Worship that stone?”

The brãhmaøa said, “It is only for some days. I will soon come back and take Him again. Know for certain, I am very attached to my Girirãja and cannot live without Him.”

The king felt slightly offended. He said, “What kind of a request is this? I am the king. You could ask me for gold, land, or a palace, but no, you want me to look after a stone.”

“Oh,” said the sãdhu, “you don’t know. This åìla has been worshiped by my ancestors for many generations. They were all highly-elevated brãhmaøas, and they maintained an exalted standard of worship. I do not know anyone in the country except you, dear King,

10� Third Month

who is qualified to worship my Girirãja. You are a spotless monarch, always faithfully abiding by the Vedic principles, and you are loved and adored by your citizens. Please take this åìla for a short time. Otherwise I will have to carry Him with me, and that would be a great burden on my feeble body.”

The king felt flattered. Besides, he wanted to fulfill the brãhmaøa’s desire. Everybody in the palace would surely laugh to see him bowing down before a stone and carrying out childish ceremonies. But, after all, it was only for a few days, and he recalled that in his life he had performed much more difficult tasks to please the brãhmaøas. He agreed to the request. The brãhmaøa showed him the high standard of pújã and made him promise to worship Årì Girirãja strictly according to these rules and to continue the worship until the brãhmaøa returned.

The brãhmaøa then took up the uttara-patha (the way to the north), his last journey in this transient world.

The king started the worship. He was accustomed to Vedic rituals, and he performed the pújã as he would any other ritual. He had neither devotion nor respect for the åìlã; his dealings with Girirãja were completely external. But he was a man of character. Never in his life had he broken a promise. Thus, he followed the complex process of the pújã as delineated by the brãhmaøa, ignoring the comments of his wife and other relatives.

Days passed. Impatiently, the king awaited the return of the brãhmaøa. After a week he thought, “Maybe something has happened to the brãhmaøa on the road.” He sent out a division of soldiers with a description of the brãhmaøa, but nobody had seen or heard of him.

110 The Twelve-month Mëdaùga CourseAfter two weeks it began to dawn on the king that the brãhmaøa would never come back. He thought, “He must have died on the road. After all, he was very old and weak. Maybe a lion devoured him.”

What could the king do? His promise was unbreakable. With aversion, but spotless accuracy and punctuality, he continued to worship Årì Girirãja. His determination to fulfill his promise to the brãhmaøa was stronger than his atheistic nature. Externally, he appeared like a first-class devotee of Këòøa, but in his heart he remained a convinced atheist. He always thought derisively about the object of his worship.

But gradually his unflinching service took effect. His heart became softer. At times, he would lie in bed, stare at the full moon, and wonder about the universe and life. His character improved, and he treated his family members with more affection.

Këòøa thought it was time for a test. One night, Girirãja appeared in the king’s dream. Girirãja was very angry and said, “King, unfortunately my beloved devotee gave Me into your care before he left this world. It is a shame, because you are an impudent disbeliever. Every day you perform the pújã, but you completely neglect Me, the person Girirãja. You are not qualified to worship Me. Take Me to the Gaùgã and throw Me into the water! I would prefer to lie there than be worshiped by a staunch atheist.”

The king woke up. What a strange dream! The stone had spoken to him. He went to the pújã room, stood before Girirãja, and said, “I have given my promise that I will worship You until the brãhmaøa comes back. If he does not come back, I will worship you until the end of my days. I don’t believe in You, but I never fail to keep my

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promise. You have to accept my worship whether you like it or not!” His determination to keep his word was unbreakable.

The next night, Girirãja appeared again in the king’s dream. From his copper-red eyes came anger as glaring as lightning. He said, “King, take Me to the Gaùgã immediately. Otherwise, your son will never wake up again.”

The king got up, entered the pújã room, and stood firmly before Girirãja. He had worked himself up into a rage, and he shouted, “Dull stone, You won’t make me break my promise. Take my son! But I will not stop worshiping You.”

In the morning everyone in the palace was crying in great lamentation.

The king continued to worship Girirãja with increased attention. The sudden death of his beloved son had deeply affected his softened heart. He also felt offended that he was considered unqualified to worship Girirãja. Was there anyone in the country who performed pújã as meticulously as he did? He would show that stone what it meant to be worshiped.

Këòøa tested him further. A week later, the king had another dream. This time, Girirãja was as big as a Himalayan mountain. Looming up above the king, He declared with a thundering voice, “King, no matter how perfectly you perform your pújã, I am not impressed. You have no bhakti. You don’t even have a concept of bhakti. Therefore you are not qualified to worship Me. Throw Me into the Gaùgã at once! Otherwise, your wife won’t see the sun rising.”

112 The Twelve-month Mëdaùga CourseThe king went before Girirãja. His voice trembling out of fear or

anger, he said, “You have taken away my son, now take my wife, cruel stone! I don’t care. My promise will never fail.”

Again, lamentation shook the palace walls.

While his pújã reached the climax of perfection, the king began to think deeply, “What does it mean—no bhakti?” He had never heard that word before. Why was he not qualified to worship Girirãja? His heart continued to soften slowly, and he underwent a fundamental change. He thought that he had performed his pújã as a matter of formality until then in order to fulfill his promise. But he did not realize that he had developed a deep taste for it, and it was that taste that made him determined to take up the challenge. He wanted to become qualified to worship Girirãja. He wanted to satisfy Girirãja so that He would accept his pújã. He assembled learned brãhmaøas in his court and began to hear about the secrets of devotional service. From the Årìmad-Bhãgavatam he learned that the Deity and the åìla are direct manifestations of the Supreme Lord, who is eternally a person. Slowly, devotion arose in his heart, but still, due to pride, he upheld his demoniac attitude outwardly.

Këòøa, however, wanted complete surrender. In the next dream, Girirãja was sitting heavily on the king’s chest, making it difficult for him to breathe. The king stared at the mighty form, which appeared like the summit of beauty and power united. Girirãja said, “King, for the last time, get rid of Me. I don’t accept your pújã. You pretend to worship Me with full faith and surrender, you even hear and discuss My glories, yet you dare to deride My personality and treat Me as dead stone. You will never be qualified to worship Me, because you

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lack faith in Me. Throw Me into the Gaùgã immediately, or I’ll pluck out your eyes, ears, and tongue. Then your worship will come to an end.”

The king laughed at the person sitting on his chest. He said, “O Girirãja, You have taken away my wife and my only son; both were more dear to me than my own life. What else do You want? Take everything from me! I will continue to worship You until my last breath and beyond.” Suddenly, he realized that he had become indifferent towards his promise to the brãhmaøa. It was no longer relevant. He would never stop worshiping Girirãja, because he wanted to worship Him. With tears in his eyes, he prayed, “O my Lord, I am Yours. Take all my possessions, take my life, take my soul and my whole existence, but please allow me to worship You. I have no other desire. Please, accept my pújã. Please, give me bhakti.”

The next morning, he woke up deaf, dumb, and blind.

Somehow, he found his way to the pújã room. He threw himself before Girirãja. With his purified inner vision, he stared at the Lord’s transcendental form, effulgent like millions of suns, and he prayed, “O my Lord, I have always rejected You and laughed at those who worship You. I was a sinful demon, who did not even know the word bhakti. Somehow, by Your causeless mercy, You have tricked me into worshiping You. Only my unbreakable determination to keep my promise enabled me to worship You. Gradually, You have softened my heart and filled it with taste for pújã. I began to hear about Your transcendental qualities from self-realized persons. The seed of bhakti sprouted in my heart and finally extinguished all desires except the desire to worship You with devotion. All this I consider

11� The Twelve-month Mëdaùga CourseYour inconceivable mercy. Now I am Yours. Please allow me to find shelter at Your lotus feet.”

The Lord’s answer found its way into the lotus of the king’s heart. “My dear bhakta, I am satisfied with you. You have surrendered everything to Me, and pure bhakti has illuminated your heart. I consider you My personal associate. You have left everything behind, including your own body. Now you have attained your eternal spiritual body. Never again will you leave My association.”

Thus, the king left this ephemeral material world behind and entered the eternal pastimes of Këòøa in Vëndãvana.

Fourth Month


Fourth MonthHasta-Sãdhana

During this month you should practice mainly Hãtuti 1. Here are two additional hasta-sãdhana mantras that help to improve your hand technique. The first one is especially useful to make your hand loose and to increase the concentration of your mind.

ÆHS � #khetetetetetekheta#khetetetekhetakhete#tetekhetatetekheta #tetetetetetekheta#tetetetekhetatete#tetekhetatetekheta#khetetetetetekheta #tetetetetetekheta#khetetetekhetakhete#tetekhetatetekheta #tetetetekhetatete#tetekhetatetekheta#khetetetekhetatete#kheta tetetetekheta#tetekhetakhetetete#kheta tetetetekheta#tetekheta tetekheta

11� Fourth Month

Translation

khete (like khene in HS �)tete (like tere)kheta (like khena in HS �)

How to practice

Æ Look at how the mantra is constructed. The first two lines (khete tete tete kheta~ tete tete tete kheta~) are a complete sequence. They can be played together. In the following lines, the sequence is reduced step by step, and at the end only tete kheta remains. You will have to concentrate to play without any mistakes. Loudly pronounce the mantra and learn it nicely by heart.

Æ Take care of proper balance of your hands. The combination kheta khete tete is very important for the kìrtana mantras that you will learn later. Clearly play khe-ta-khe in sequence. When you play fast, you will tend to play khe and ta simultaneously, but then the second khe will come too early and you will break the rhythm. Also notice that khe of khete is played stronger than khe of kheta. From this emphasis comes the melody of this mantra. If you find it helpful, you can practice khete tete kheta separately for some time. Carefully listen to the recording on the CD or MC.

Æ Practice the first two lines together, then the next two lines together, then the first four lines together, and then the complete mantra. For some days, alternate your practice: one day this mantra, the next day Hãtuti 1, the following day this mantra, and so on.


ÆHS � #terekhetateretere#khetatereteretere#khetakhetetetetete#khetaterekhetakhete#tetekhetataktere#khetatikhitakhitere#khetakhetatakhiterekheta

Translation

tere kheta (as usual)khete tete kheta (like in HS � above)tak Right 4 closed

(very strong and sharp sound)tikhi takhi~ (like in HS 3, page xxx)

How to practice

Æ This is the advanced version of HS 3. From now 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.

Æ Take care of the balance of your hands. Study the explanation above for HS � for proper balance.

Æ Tak has to be played sharp and strong, even when you play fast (double speed). This is possible only if your hand becomes loose and you learn to play the closed stroke very precisely.

11� Fourth Month

Hãtuti 1—DecorationsThe following five mantras are called dvãra, or gates. They

are a nice introduction to Hãtuti 1. First, learn and practice them separately. Later you will learn how to use them with Hãtuti 1.

Æ HD 1 (tetetete#khetatak#daghinake#jhauru #taketake#tetekheta#daghinakuru)§#daghinake#jhagurugurdaghi#nakejhagurugur#daghinake

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

ke Left open (not strong)


jha Left open + Right 4 open

uru Right 4 open, then thumb, then 4 open (in swift sequence)

ta Right 4 open

ke Left closed

take (same again)

tetekheta (like tere

daghinak (like daghinaabove)

uru (as above)

daghinake (as above)

jhaguru (as in HA 1-

How to practice

Æ The combination uru is frequently used in kìrtana mantras. Since it is a triplet, it has to be played in triple speed.

Æ This mantra and the following ones are not played fast. They are in single speed, but the guru gur sections in them must be played in double speed.

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Æ HD 2 #dhowkheta#dheiya#gurugurdhini#dheiya#terekheta#takdhini#dheiya#khikhitak#jhakhikhi#takjha#khikhitak

Translation

dhow Left open Right open

kheta (as usual)

dhei Left open Right open

ya Right 4 open

gurugur (as usual)

dhi Left open Right 1 closed

ni Right 3 open

dheiya (as before)

terekheta (as usual)

tak Right 1 up

dhinidheiya (as before)

khikhi L e f t (2 times)

tak Right 1 up

jha (as usual)


Æ HD 3 {(#dagurugurdhena)§#jhagurugur}§#takhitata#khetatata#khetatakhi#tagurugur#dheiyati#netakheta#khetatakhi#ta

Translation

dagurugur (as usual)

dhe (like jha)

na Right 4 open

jhagurugur (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

gurugur (as usual)

dhei (like jha)

ya Right 1 closed

ti Right 3 closed

ne Right 1 closed

ta Right 4 open

khetatakhita (as above)

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How to practice

Æ In this mantra there is a repetition within a repetition. After playing da guru gur dhena three times, you play jha guru gur. And that whole sequence is played three times.

Æ HD � (#daddhin#nakdhin#nakdhin#jhagurugur)§#dheiya#takheta#daghine#takheta#khetadh#eiya#dadhei#ya

Translation

dad Left open + Right 4 closeddhin (like jha—left

hand stronger than the dad before)

nak Right 1 updhin (as before)jha guru gur (as usual)dhei (like jha)ya Right 4 openta Right 4 openkheta (as usual)da Left open + Right 4 closedghi Left open (stronger than

the da before it)

12� The Twelve-month Mëdaùga Coursene Right 1 openta Right 4 opendheiya, da (as before)

How to practice

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

Æ HD � (#daddhin#nakdhin#neda/#jhagurugur)§(#jhajha#gurugurdagur#dagurugurda#gurugurdagur #jhajhagurugur#dagurugurda#gurugurdagur)§

Translation

daddhinnakdhin (as in HD �

ne Right 1 closed

da Left open + Right 4 closed

jhagurugurda~ (as usual)

How to practice

Æ Notice that the first jha jha is twice as long as the second jha jha.

Æ When you can play these mantras nicely, combine them with Hãtuti 1. Play them as shown below, without space between the different parts. This is the standard system of playing Hãtuti 1. In the next chapter you will learn a mantra that serves as a connection between other hãtuti.

12� Fourth Month

(ghenereghenajhaghenereghenajhaghena/jha)&HD 1 ghenereghenajhaghenereghenajhaghena

HD 2 ghenereghenajhaghenereghenajhaghena

HD 3

HD �

HD �

HA 1 (play continuously)

The first line is as follows: repeat the whole line six times, except for the last time—don’t play the last jha, immediately play HD 1.

Æ Practice in this way for the rest of the month, but don’t forget the new hasta-sãdhana mantras.

The Mëdaùga and Årì Baladeva“Lord Baladeva is called Lord Åeòa, for He has attained the

ultimate end of servitude to Këòøa. He takes many forms for the service of Këòøa, and thus He serves Lord Këòøa, assuming all the following forms: umbrella, slippers, bedding, pillow, garments, resting chair, residence, sacred thread, and throne.” (Cc. Ãdi 5.123-124)

Because the mëdaùga is used in Këòøa’s service, it is respected as nondifferent in nature from Årì Baladeva, Këòøa’s elder brother in vraja-lìlã. And as Lord Nityãnanda and Lord Balarãma are nondifferent, we can also understand that the mëdaùga is nondifferent from the most merciful Lord Nityãnanda.


Sãdhu-saùgaTaste comes through determination. If you practice every day, no

matter what happens, you will get a taste in due course of time. You will be able to play one mantra for hours without getting tired or bored. On the contrary, with increasing taste, you can play faster and faster, while your hand becomes looser and softer. At a certain point you will realize that the mëdaùga is a transcendental instrument, which brings transcendental pleasure to the player. Then you become addicted to your daily practice, and if you carefully observe your mind, you will discover that it is completely absorbed—attracted by the rasa-mãdhuri qualities of årì mëdaùga.

How do you obtain this determination? It is a rare gift. You have to get it from those who possess it:

‘sãdhu-saùga’, ‘sãdhu-saùga’——sarva-åãstre kaya lava-mãtra sãdhu-saùga sarva-siddhi haya

“The verdict of all revealed scriptures is that by even a moment’s association with a pure devotee, one can attain all success.” (Cc. Madhya 22.54)

We can see how the principles of devotional service perfectly apply to practicing the mëdaùga, because this practice is devotional service. In regards to practicing mëdaùga, sãdhu-saùga means to attain the association of musicians who know the art of Gauîìya Vaiòøava music and who are devotees of Këòøa. Both conditions are required. There are many professional musicians in India. They can play all the rãgas, rãgiøìs, and tãlas, but they have no këòøa-bhakti.

12� Fourth Month

Association with professional musicians makes one greedy for fame and money, and spoils one’s attempt to perform devotional service. On the other hand, there are many nice devotees who enthusiastically perform kìrtana and bhajana for Këòøa, but they are not trained in the traditional system. From them you might obtain the eagerness to play the mëdaùga but not the determination or the knowledge to practice properly.

To find the necessary kind of sãdhu-saùga in modern times is difficult. To fulfill this need, we intend to produce many CDs and MCs with traditional Gauîìya Vaiòøava music, played by experienced musicians who are devotees of Këòøa. By hearing these recordings and by reading the explanations of the songs, you will enter into the mystery and beauty of the pure style of singing and playing for Këòøa. Then your eagerness and determination to learn the authentic way will awaken. You will experience the power of sãdhu-saùga. If you also cultivate the desire to sing and play mëdaùga only for the pleasure of Këòøa, He will surely make all arrangements for you to get sãdhu-saùga.

We also plan to build a Gauîìya Vaiòøava music school in Godrumadvìpa, if Këòøa allows. There, we hope you will have the opportunity to meet many devotees who share your desire and determination to learn the pure style. You don’t need constant association; just some weeks or months can be sufficient. Lava-mãtra, mãtra means “only,” lava means “one-sixth of a second.” Only one-sixth of a second of sãdhu-saùga can bestow all perfection upon you. (According to Bhãg. 3.11.14 purport, one lava is 8/45 of a second.) There is a story that demonstrates this point.

12� The Twelve-month Mëdaùga CourseKãlu was a daring thief, and he was also extremely greedy. One

day he decided to steal from the queen. In the evening he entered the palace unseen, found his way into the private chambers, and hid under the king’s bed. His plan was to wait until the royal family went to sleep and then take the queen’s precious jewelry, which she would leave in the dressing room. Patiently he waited until the king and queen finished their evening duties and went to bed.

That night, the king was very restless. His wife (and the attentive Kãlu) noticed his uneasy mood. She said, “Dear Prabhu, what’s wrong? Is there a problem making you gloomy? Please tell me why you are so unhappy. Did your Lord not give you everything you need for a blissful, prosperous life?”

“You know well what bothers me,” he replied. “Next month our daughter will celebrate her twenty-fifth birthday, and still we haven’t found a suitable husband for her. Shame on me! It’s the father’s responsibility to see his daughters married, and my failure in fulfilling my duty will certainly pave my way to hell. How can I be happy in such a situation?”

The queen tried to hide her annoyance. She said, “You know well, Prabhu, our Kamalã is exquisitely beautiful and full of all good qualities, and many noble and qualified candidates are eager to court her. It’s only your obstinacy that prevents a favorable marriage.”

“Favorable marriage! Show me just one of those noble men who has any devotional qualities. I’m responsible for the happiness of my beloved daughter, and I know that she’ll only be truly happy if she marries a pure devotee of Këòøa. I won’t marry her to a nondevotee. We have discussed this point often enough.”

12� Fourth Month

“I know, dear Swami, you’re a great devotee of Këòøa, a rãjaròi, certain to attain the spiritual kingdom after this life, and I adore you for your exalted qualities. But be practical. Worship your Lord in the temple and apply common sense in your ordinary dealings. After all, to marry a princess is an act of diplomatic weight. You could greatly enhance your political influence by marrying her into a befitting family.”

“How could I sacrifice the eternal welfare of my daughter for the sake of mundane dealings? Enough! I’ll give her only to a pure devotee of Këòøa, regardless of his reputation and social status. A pure bhakta is beyond all mundane considerations. He’s the best among human beings, and I’ll give all my wealth and power to such a son-in-law and make him a suitable successor to the throne.”

The queen sighed inwardly. They had often discussed this matter. The king was not to be diverted from his obstinacy. She knew many sãdhus—ragged, emaciated, long-bearded figures who would never trouble themselves about refined culture, courtly etiquette, or even the care of their own bodies. How could she burden her daughter with such a husband? And even if one of them did suit her, would he ever agree to abandon his life as a mendicant, dress in luxurious garments, and play the royal game? The king had often tried in vain to convince one of them to do so.

Then, remembering a conversation with her maidservant, she got an idea. She said, “My dear Swami, I think I know the solution. I heard that tomorrow a great sãdhu-melã will take place in the forest near town. All the great devotees of the land will assemble there and

130 The Twelve-month Mëdaùga Coursediscuss transcendental topics. Why don’t we go there and find a suitable son-in-law?”

Her idea, of course, was to make him see that he would never find a pure devotee willing to marry their daughter. If they returned empty-handed from this melã, she hoped that he would accept a worthy candidate from the royal society.

Upon hearing the king’s consent to the proposal, Kãlu thought, “Why don’t I go there? A much greater treasure is to be had there than in the queen’s dressing room. Tomorrow I can get everything. This is the chance of my life.”

Thus, abandoning his initial plan, Kãlu silently left the palace and went home. The next morning, he purchased a false beard, a long-haired wig, an old saffron robe, a brãhmaøa thread, a bag containing japa-mãlã, a set of kaøóhi-mãlã, a kamaøîalu, and a piece of tilaka. Standing in front of the mirror, he carefully dressed himself as a dignified sãdhu and rehearsed the behavior of a devotee of Këòøa, such as chanting the holy name, offering prayers, and silently meditating. In some anxiety, he entered the marketplace. People respectfully offered praøãmas to him, and none of his acquaintances recognized him. Satisfied, he went to the sãdhu-melã and selected a sitting place in solitude, knowing that a fool is recognized as soon as he speaks.

Later in the day, the king and his entourage arrived. The beautiful princess, lavishly ornamented, was carried in a jewel-decorated palanquin. Seeing the place filled with hundreds of sãdhus, the king prayed to Këòøa, “O my Lord, please allow me to fulfill my duty as a

131 Fourth Month

father. Please let me find a suitable husband for my daughter among these great devotees. Many bhaktas from my kingdom and from far away are assembled here. If today, no arrangement will be settled, how will I be able to marry her to a devotee?”

Meditating like this, he approached one sãdhu after another, humbly submitting his heart’s desire. But as the queen (and the cunning Kãlu) had foreseen, none of the sãdhus were enthusiastic about the king’s offer. They all replied in a similar way: “Why do you want to snare me with the golden shackles of mãyã? Thank you for your offer, but I won’t exchange my blissful live of rãga-marga for worldly opulence and beauty.”

Finally, after having gone through the assembly in vain, the king sat down, disheartened. “Now are you convinced?” asked his wife. “But why don’t you also go to the last sãdhu? He seems to be particularly humble and renounced, since he chooses to sit in solitude.” The king looked at Kãlu, who was sitting a little apart, peacefully absorbed in his japa (or at least pretending to be).

“Well, let us have a last try,” said the king, and he approached the false saint, who looked at him with half-closed eyes. The king patiently waited, but it seemed that the sage was unwilling to interrupt his chanting.

After some minutes, the king said to him, “Dear sãdhu, from your demeanor I can conclude that you are the most exalted among the great devotees of Këòøa. Undoubtedly you’ve reached the perfect stage of enjoying the personal association of our beloved Lord, and you’re completely free from mundane desire and association. Being a nitya-siddha devotee of Këòøa, you can act freely in this material

132 The Twelve-month Mëdaùga Courseworld without being influenced by mãyã’s energy. Therefore, please be merciful upon me by fulfilling my heart’s desire. Take my daughter as your devoted wife. She has all the good qualities of a chaste woman and will serve you to your heart’s content. And I’ll give you all I have: my wealth, my palace, my kingdom, everything. Please, accept my daughter.”

For some minutes, Kãlu sat motionless, neither chanting nor responding. Obviously, deep emotions shook his heart. Suddenly, he jumped up, tore off the wig and false beard, and exposed his real identity to the king.

“Kãlu, it’s you!” Recognizing the thief, the king drew his sword. “You rascal! You wanted to cheat me, confess! For that, I’ll put an end to your evil doings once and for all.”

Kãlu replied, “Yes, King, I wanted to cheat you, I admit it freely. Last night, I was lying under your bed, waiting to steal your wife’s jewelry. But then I heard of your plan and thought, this is the chance of my life. Today, I disguised myself as a saintly devotee and sat here, sure that you wouldn’t find a groom among these sãdhus. Then, being the only one willing to accept your offer, I’d become the new king.

“It was a great plan, but suddenly something has changed my life. I was the most sinful of all rogues: greedy and crafty, without any good qualities, what to speak of devotion or saintly behavior. Still, just by sitting amongst these exalted personalities for a few minutes and pretending to chant Këòøa’s holy name, my heart melted, and the seed of devotion, planted in my heart by their merciful association, has begun to sprout. Now I have lost the desire to enjoy this material world, what to speak of continuing my sinful misdeeds. Keep your

133 Fourth Month

daughter. I don’t want her either. Henceforth, I will follow the path tread by ascetics of all ages.”

After speaking, Kãlu turned and started to walk away. The king, inspired by the short association with the newborn sage, felt the fire of renunciation blazing in his heart. “Kãlu, wait! Take me with you!” he shouted.

Kãlu looked back for the last time and said, “Dear King, just stay in your palace and fulfill your royal duties. When the time is ripe, Këòøa will arrange for your succession. Then, leave the palace and follow me. You’ll find me at the place where no mundane topics are being spoken or heard.” Then he proceeded towards the mountains, blissfully chanting on his beads.

My Memories of Årìla PrabhupãdaAt the age of eight or nine, I started to visit the ISKCON project

in Mãyãpura regularly. Årìla Prabhupãda’s bhajana-kuóira was already established, and the ground floor of the Lotus Building was in construction. Årìla Prabhupãda was personally present for several months to supervise the development of the project. At that time, Bhavãnanda Prabhu was the only Western devotee in Mãyãpura. We would go there just to see him, the only Western person in our lives. We would stand before him, gaze at his huge white stature, sizing him up from feet to head. He was our childhood attraction.

On Årìla Prabhupãda’s advice, Bhavãnanda started to teach us English. I came to Mãyãpura nearly every evening to attend the class, and I regularly had the association of Årìla Prabhupãda for

13� The Twelve-month Mëdaùga Coursenearly half a year. He would come after Bhavãnanda’s class and distribute mahã-prasãdam to us. After some time he told us to stay for his Bhagavad-gìtã class and then get a nice prasãdam meal. Thus, nearly every night we heard a lecture by His Divine Grace. When he was singing jaya rãdhã-mãdhava, I used to accompany him on the mëdaùga. I didn’t know many kìrtana mantras, only the Ãrati Mantra and some tehãi. My guru was teaching me mainly hasta-sãdhana. Still, Årìla Prabhupãda liked my playing. He once asked me about my teacher. Although he was from Calcutta, he knew Rãdhãcaraøa dãsa Bãbajì Mahãrãja, who was quite famous. He was pleased and advised me to continue learning mëdaùga.

He said, “This is so important, our Gauîìya Vaiòøava culture. Without mëdaùga we have no background. Nothing goes without mëdaùga!” On another occasion he said, “Bãblu, one day many devotees will come to Mãyãpura. You should teach them the mantras you are learning so that they become nice mëdaùga players.”

At that time I was a small boy and couldn’t really believe his words, but today I understand. Thus I humbly but justly declare that I teach and practice mëdaùga in ISKCON on Årìla Prabhupãda’s personal advice.

Årìla Prabhupãda had a cordial relationship with us local village boys. Sometimes I would go to his bhajana-kuóira to talk to him. For example, I had to excuse myself if I could not come for class the next day, and he wanted to hear the reason in detail. One of my friends was older, about twenty years. Årìla Prabhupãda preached to him that he should become a devotee, stay in the ãårama, and lead the other boys of the village towards Këòøa consciousness. Årìla Prabhupãda

13� Fourth Month

said, “Tomorrow after prasãdam, I will shave you and apply tilaka on your forehead. Then you will become a nice Vaiòøava.” My friend became very scared. The next day he attended the class, but right after prasãdam he quietly disappeared, thus avoiding Prabhupãda’s merciful treatment.

After some months Årìla Prabhupãda left, and Bhavãnanda Prabhu went to Australia to take over the GBC post there. Our English classes stopped, and I no longer visited the project regularly until I started to teach mëdaùga at the gurukula.

Årìla Prabhupãda was different from any other person; even though we were young boys, we could recognize his unique position. He appeared to be from another world: the way he sat, walked, and spoke; the way he moved his hand to eat and drink; everything about him was very special. As a mëdaùga student, I was trained to watch the hands of my guru. I was always fascinated to see Årìla Prabhupãda’s hand movements in all the actions he performed. He was truly aristocratic and beyond judgment. At the same time, he was friendly to me and the other village boys and was always approachable. I was young and ignorant, and although born in a Vaiòøava family, I was far from being a devotee. I could not estimate my great fortune in having the personal association of such a mahã-bhãgavata devotee of Këòøa. I missed the chance to derive the real benefit from his association, and I deeply regret it. If I ever had the opportunity to meet Årìla Prabhupãda again, I would cling to his lotus feet with both hands, crying, “Mercy, Årìla Prabhupãda, have mercy on this poor fallen soul.”

Fifth Month


Fifth MonthCommon Decoration Mantra for All Hãtuti

During this month and next month, we will present more hãtuti. You can play them separately or combine them. If you combine them, you have to play the following mantra in between, leading from one hãtuti to the next one.

HD 0 #jhagurugur#daddhena(#dagurugurda#gurugurdhena)§#jhagurugur#daddhena[#dagurugurda#gurugurdhena/#*jha

Translation

jhagurugur (as usual)

dad Left open + Right 4

dhe Left open (strong Right 4

na Right 4

dagurugur (as usual)

dhena (as before)

13� Fifth Month

How to practice

Æ After having played one hãtuti, if you want to play a different one, play HD 0 between the two hãtuti, without a pause.

Æ Again you see the soma, indicated by the “+” over the last jha. This sign appeared already in the single-speed mantra of Hãtuti 1 (page xxx). It means that jha is played only if you repeat the mantra, as you have been doing in your daily practice. If you go on to the next hãtuti, skip jha and immediately start the new mantra after the last dhena.

Æ Practice this mantra separately for some days to become familiar with it. Later we will show how to play several hãtuti together. Also, continue practicing Hãtuti 1 and HS � and �.

Hasta-SãdhanaThe following mantra is the long version of HS �. See the translation

of HS � (page xxx).

Æ HS � #ghenenere#ghenageda#ghenenere#ghenaghene#nereghena#khenenere#khenakheta#khenenere#khenakhene#nerekhena

1�0 The Twelve-month Mëdaùga Course

How to practice

Æ Pay attention to proper balance of the hands. Read again the explanation to HS � (page xxx). Try to play the rhythm as described there. This mantra is very powerful and helps you to increase your feel for the mëdaùga.

Hãtuti 2If you can play HS � nicely, the following hãtuti should be no

problem. It has a very nice, dynamic melody.

Æ HA 2 #deregere#deregere#ghenenere#ghenanow#terekheta#ghenenere#ghenanow#terekheta#ghenenere#ghenaghene#nereghena#ghenenere#ghenanow#terekheta#tikhitakhi#terekheta

Translation

deregere (like dere ghena in HA 1e, page xxx)

ghenenereghena (as in HS � above)

now Right 4 open (strong)

terekheta (as usual)

tikhitakhiterekheta (as in HS 3, page xxx)

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How to practice

Æ Some of sequences of this hãtuti will be familiar to you because you practiced them earlier in the hasta-sãdhana mantras. Listen to the CD or MC, and try to make your mëdaùga speak in the same way.

Æ This month, on different days, practice Hãtuti 1 with decorations, Hãtuti 2, HS �, �, and �. Notice which mantras give you the most difficulty and practice them more often. You can also take part of a mantra and practice it separately if you find it particularly difficult.

Next month we will start with the first kìrtana mantra. Your hands should be able to play everything that you have learned so far. If you are not ready, invest in some more weeks of practice before you go on.

Playing for KëòøaMusic should be an offering to Lord Këòøa and a form of

meditation. It should not be a means for showing off. One can easily become proud and passionate and use music for personal sense gratification. One should avoid using music in the wrong way. In our Gauîìya Vaiòøava tradition we understand this misuse of music to be a type of Mãyãvãda pollution, causing loss of knowledge, austerity, and meditation on Këòøa. If you use music to satisfy the senses of an unqualified audience instead of satisfying Këòøa’s senses, you drag your conception of Këòøa down to the material platform. This is what Mãyãvãdìs do. They claim that the supreme, formless Absolute Truth

1�2 The Twelve-month Mëdaùga Courseassumes a form of mãyã and becomes Këòøa. To remain free from Mãyãvãdì tendencies, remember that you play to please the Supreme Person, Årì Këòøa, and that you have to pray to Këòøa to enable you to perform this service nicely. Then you act with bhakti, and your music will become saturated with bhakti-rasa and invoke devotional feelings in the hearts of your audience.

Music is meant to express the rasa of Këòøa’s pastimes, which are going on 24 hours a day. These pastimes are called aòóa-kãliya-lìlã. We are not remembering these pastimes in our present conditioned state, but divine musical arrangements, rãgas and rãgiøìs, portray these lìlãs and allow us to perceive our eternal spiritual relationship with Këòøa.

Bhakti Means SurrenderBhakti-yoga means surrender to Këòøa. We cannot obtain Këòøa’s

mercy or transcendental knowledge without surrendering to Këòøa. We can see this in the example of Draupadì in the Mahãbhãrata.

When Duæåãsana was pulling the sari from Draupadì in front of the whole guru-varga—Këpãcãrya, Droøãcãrya, Bhìòmadeva, and so on—she was praying to Lord Këòøa with one hand raised to Him, and the other hand was holding her sari. Këòøa watched the sad and shy Draupadì, quietly saying to Himself, “Until you surrender, how can I protect you?” And when Draupadì had only one length of her sari around her body, she loudly prayed to Lord Këòøa with both hands raised, “He Madhusúdana! Please protect me. I am yours.” Hearing Draupadì’s prayers, Këòøa said, “Now I will give you unlimited sari and protect you, because you surrendered to Me.”

1�3 Fifth Month

The readers of the Mahãbhãrata know how Ekalavya became perfect in knowledge. He wanted to learn the art of archery from Droøãcãrya. But Droøãcãrya had already proclaimed that Arjuna would be his best disciple, and because he could perceive Ekalavya’s extraordinary ability and nature, he did not want to teach him. However, Ekalavya had already accepted Droøãcãrya as åikòã-guru. He made a clay múrti of Droøãcãrya and worshiped him with full devotion. In front of this múrti, Ekalavya started to learn and practice archery. After some time, he became better than Arjuna, who was learning directly from Droøãcãrya.

When Droøãcãrya met Ekalavya, he recognized that Ekalavya was better than Arjuna, and Ekalavya would be able to defeat Arjuna. Droøãcãrya asked Ekalavya, “Who is your guru?”

“Droøãcãrya,” Ekalavya’s replied.

Droøãcãrya asked, “How could you have learned from me? I didn’t teach you. Now tell me, who is your guru?”

Ekalavya replied, “I have only learned from you, since you are my åikòã-guru.” Then he showed Droøãcãrya the múrti he had made.

Droøãcãrya gravely said, “If you have learned from me, you’ll have to give me guru-dakòiøã. Without guru-dakòiøã the training is not complete.”

“Yes, gurudeva,” said Ekalavya, “I’m ready to give you whatever guru-dakòiøã you want.”

Droøãcãrya said, “Give me the thumb of your right hand.”

1�� The Twelve-month Mëdaùga Course

Immediately Ekalavya cut off his thumb with the sharp head of an arrow and gave it to his guru as dakòiøã. Now, without his thumb, Ekalavya would never be able to shoot an arrow.

For our contemporary mentality, this story might be shocking. The main point, however, is that Ekalavya became perfect by complete surrender to his guru, nourished by his firm faith in the transcendental nature of guru-tattva. This is the main requirement of bhakti. First, surrender to guru, Gaurãùga, and Këòøa. If one says, “He Govinda! I am your servant,” with true sentiment from the heart, Këòøa will go to such a devotee, take care of him, and make him sit on His lap.

You must remember that playing the mëdaùga is part of bhakti-yoga. This is the musical side of bhakti. Këòøa likes to hear the mëdaùga so much. The mëdaùga is the expansion of His flute, and it is meant to produce sweet rasa-mãdhurì melodies for Këòøa’s pleasure. The very life and essence of the mëdaùga is to please Këòøa. Therefore, mëdaùga students must always be Këòøa conscious. Without cultivating your spiritual life, without following the principles of devotional service, without chanting Këòøa’s name, without serving Him and His devotees in a humble manner, you won’t become successful in mastering the mëdaùga.

On the other hand, a sincere mëdaùga student will advance in his relationship with Këòøa. I have seen students who were struggling in spiritual life find a taste for Këòøa consciousness by taking shelter of the mëdaùga. Anything that reminds you of Këòøa and service to Him can save your spiritual life and help you make progress on your path back to Këòøa. The mëdaùga helps us to remember Këòøa. You cannot play any mantra without singing the Hare Këòøa mahã-

1�� Fifth Month

mantra or other songs written by the ãcãryas. The mëdaùga is a rasa instrument. It cannot be used for any music except këòøa-kìrtana. Therefore, practice mëdaùga with an attitude of sincere devotion and surrender. Always pray to Këòøa that He will be pleased with your endeavor and empower you to enter this ocean of transcendental bliss.

Dancing for Årì GaurãùgaIn his Prema-vivarta, Årìla Jagadãnanda dãsa Paøîita describes

how he took part in the kìrtana of Årì Gaurãùga. His words are the testimony of a pure devotee who became empowered by Lord Gaurãùga to take part in His prema-kìrtana:

“Completely satisfied by the prasãdam of the Lord, I joined Lord Gaurãùga, Lord Nityãnanda Prabhu, and Their associates. As they walked along the bank of the Gaùgã, they resembled a group of swans gracefully gliding upon the waves of Mother Gaùgã. Incessantly chanting the holy names of Årì Këòøa, we finally arrived at the village Gadigacha. Årì Govinda played the mëdaùga, Årì Vãsu Ghoòa sang, and Årì Gadãdhara Paøîita and Årìla Vakreåvara Paøîita danced in ecstasy. The sound of the names of Lord Hari filled the air. The penetrating voices of the women occupied the sky. Everyone was immersed in the ecstatic ocean of love of Årì Gaurãùga.

“I am very clumsy in singing and dancing; yet I danced with the others and threw my stretched arms upwards. This could happen only because my Lord Gaurãùga entered my body and my heart and forced me to do so. I have no idea of melody or rhythm; still I sang and danced. I do not know how this is possible. I only know that my

1�� The Twelve-month Mëdaùga CourseLord—the beaming, moonlike Årì Gaurãùga—knows my innermost secret emotions.”

The Mëdaùga and the GopìsIn këòøa-lìlã, the gopìs play a drum similar to the mëdaùga, called

a mëdaùgum. The drum is the same shape as a mëdaùga, but it is made of wood and the small head is slightly larger in diameter. The mëdaùgum is a very popular drum in temples throughout South India, such as Tirúpati Bãlãjì.

A disciple of Årìnivãsa Ãcãrya wrote a wonderful bhajana wherein he mentions the instruments played by the aòóa-sakhìs, Årìmatì Rãdhikã’s eight intimate girlfriends. Lalitã plays the vina; Viåãkhã the mëdaùgum; Tuùgavidyã plays vìnã, pinak, or saptasara; Indhulekhã plays the esrãj (a stringed instrument played with a bow) or finger cymbals called maùjìrã; Citrãdevì plays a sitãr-like vìnã or the kasa gong; Campakalatã plays the sãraùgi or tambura; Raùgadevì plays the ghaøóã (bell); and Sudevì plays the karatãlas. These instruments are completely spiritual: their use and effect on the listener is devotional rather than emotional. (This description is taken from H. H. Mahãnidhi Mahãrãja’s Appreciating Navadvìpa Dhãma.)

Systematic Training and Steady PracticeSometimes devotees think they will learn to play the mëdaùga in

a few lessons. But learning to play an instrument is not like that. Who would take a trumpet or a violin and, after a few lessons, try to join a symphony orchestra? Everyone would think such a person was

1�� Fifth Month

ridiculous. To think that you don’t need to learn or practice to play the mëdaùga is equally ridiculous. Learning to play the mëdaùga requires systematic training and steady practice.

The Right Training for Each Student Students should know how many hours they can practice each

day and how long they want to learn. Many students will learn and practice for only a few months. Some students will continue learning and practicing for several years. A rare and determined student will undergo systematic training and extensive practice for many years. Everyone will not aspire to become a highly-skilled player. It can’t be expected and it isn’t even desired. Learning mëdaùga is a spiritual activity, and like all fields of devotional service, every endeavor to serve Këòøa should be appreciated and supported.

A teacher can assess the capacity of his students at the beginning of their training and adjust their education correspondingly to produce able and inspired mëdaùga players. If someone wants to learn for only one year and has only an hour a day to practice, the teacher can put him on an elementary one-year course. After the year, the student can see the result and can play in kìrtana, and even if he stops practicing, he has attained something. If the teacher starts him on a three-year course, and after one year he can only play hasta-sãdhana, in frustration he will reject his teacher. In this case the teacher is useless.

Some rare students want to invest a lot of time in learning and practicing. If the teacher sees that they have good abilities, a soft hand, and a sweet stroke, he should align their training to a long-

1�� The Twelve-month Mëdaùga Courseterm program from the beginning. To give them a sound basis, he should only teach them hasta-sãdhana and hãtuti for at least the first two years. To teach them kìrtana and bhajana mantras too early will spoil them. They will acquire bad habits from playing complicated mantras too early, and their playing will never become sweet.

Such a rare soul who shows the ability to master the whole spectrum of the mëdaùga’s sweetness is like a precious, yet unpolished diamond. The experienced teacher will carefully guide him through the alphabet of the mëdaùga, the hasta-sãdhana and hãtuti, and thus gradually build him up, until he is ready to enter the vast ocean of kìrtana and bhajana mantras. He will treat him with special care and affection because he thinks, “This student is our hope for the future. One day he will take over the task of preserving this original system of mëdaùga playing. He will train the next generation by inspiring new mëdaùga students, and thus he will enable the paramparã to survive.”

Follow the Vedic SystemMany people misunderstand about music-from-the-heart. A nitya-

siddha, an eternally-perfected soul, might sing a night rãga in the morning, but he does not commit an offense, because he is always absorbed in Këòøa’s aprakaóa-lìlã (unmanifested pastimes). By his inner perception, he may be relishing Këòøa’s nighttime pastimes and may sing the respective rãga. But we must follow the Vedic system, because we are not on such a high level. We must play and sing for Këòøa according to time, place, and circumstance. Pure musical sounds are produced by this system.

1�� Fifth Month

A pújãrì must follow strict rules and regulations according to the direction of the ãcãryas, by offering certain articles to the arcã-vigraha in the correct manner. Similarly, a musician must follow certain rules. Neither a pújãrì nor a musician can make up a process and be sure the Lord is pleased, even though they show devotion.

In the early days of ISKCON, Årìla Prabhupãda allowed his new American disciples to play unusual musical instruments in the park and in the temple. He did so to encourage them to come to Këòøa, but as they matured and began to understand the philosophy, he taught them to refine their tastes and habits. Gradually, the standard of music in the temple increased, and the nontraditional instruments disappeared. We can continue to elevate the standard of kìrtana more and more, until we come to the platform of pure Gauîìya Vaiòøava music.

In historical times, there was a great musician called Tansen, who could make fire, bring rain, or produce natural leaves on a dry tree by his perfect singing of pure rãgas and rãgiøìs. Perfect singing is a great science, based on an elaborate system of rhythm and tune. Nothing in this science happens whimsically or by speculation; every note and beat is well defined. As musicians, we have to accept and follow the correct system. How else can we expect to please Këòøa, who, as the creator of the Vedas, is the origin of this system?

Sixth Month


Sixth MonthHasta-Sãdhana

Here is another mantra for training your mind and making your hands fast. It is played like HS �; see the corresponding translation (page xxx).

Æ HS � #khetetete#khetakhete#tetekheta#tetekheta #khetetete#tetekheta#tetekheta#tetetete#khetatete#tetekheta#tetekheta #tetetete#tetekheta#tetekheta

Hãtuti 3This hãtuti uses tere tere. It also trains you to change from single

speed to double speed, and back to single speed. The combination tere tere kheta takhi tere kheta is very important for kìrtana. Practice with great care.

1�3 Sixth Month

Æ HA 3 #dheretidhe#retidhere#daghiteretere#khetatakhiterekheta#teretite#retitere#takhiteretere#khetatakhiterekheta#daddhinteretere#khetatakhiterekheta#daddhinderegeda#jhadaddhin#deregedajha#daddhinderegeda

Translation

dhe Left open + Right 4 closed

re Right thumb

ti Right 4 open

da Left open + Right 4 closed

ghi Left open (stronger than da)

tereterekheta (as usual)

ta Right 4 open

khi Left closed

tere (as usual)

ti Right 4 open

daddhin (as in HD �, page xxx)

deregeda (like dere gere in HA 2, page xxx)

jha (as usual)


How to practice

Æ Take care of proper balance. The first half line (dhereti dhereti dhere da ghi) is in single speed, and it is followed by the double-speed sequence tere tere kheta takhi tere kheta. Take the help of a metronome if you have difficulty in changing from single to double speed.

Æ Practice only this mantra for some days, and then add it to your regular practice.

Ãrati Mantra—Entrance into KìrtanaThis is the basic mantra for kìrtana. It can be played at maùgala-

ãrati, nësiõha-ãrati, tulasì-ãrati, guru-pújã, sandhyã-ãrati, and with many different kinds of Hare Këòøa melodies. It is very popular in the Gauîìya Vaiòøava society, because this mantra is daspahira tãla (8-mãtrã)—the most common tãla for Vaiòøava songs.

Æ K 1 #khik_khi#neda#gida#gida#dhei#tauru#tete#ta

Translation

khik Left closed

khi Left closed (notice that there is a short space before)

ne Right 1 up

da (like jha)

1�� Sixth Month

gi Left open

da (like jha)

dhei Left open + Right 4 open (strong)

ta Right 4 open

uru (as in HD 1, page xxx)

tete (like tere)

ta Right 4 open

How to practice

Æ The short horizontal line after khik represents a short space before you play the next stroke. Later, you will see this in other mantras.

Æ Notice the timing of the last part: ta, uru, te, and te take half a mãtrã each. Therefore, you have to play uru 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, and delay the following tete. Then the rhythm will be lost.

Æ During this month, speak the mantra while practicing. Later, when we come to the more demanding kìrtana mantras, you will be thankful for this endeavor. Next month we will explain how to sing to this mantra, and we will also introduce the first tehãi (endings). Your main practice should still be hasta-sãdhana and hãtuti.


Perform Kìrtana for Këòøa’s PleasureWe have already discussed singing for Këòøa. The main principle

is to meditate on performing kìrtana for Këòøa’s pleasure. Then automatically everyone will be happy and satisfied. Yathã taror múla-niòecanena—if the root of a tree is watered, all the branches, twigs, and leaves are fully nourished and satisfied. (See Bhãg. 4.31.14.) As a kìrtanìya, you are a tool in the saùkìrtana movement, meant to please Këòøa. Always stay in a humble position and try to please Këòøa with your performance. Then you will serve all the devotees by inspiring them and giving them a taste for kìrtana.

If, however, you force yourself into the center by exhibiting your skills on the mëdaùga or by trying to impress the devotees with a “really fired-up kìrtana,” you will notice that the temple hallway is more crowded than the temple room. Don’t try to inspire the devotees artificially with passionate endeavor; you will find yourself amidst a loud, discordant noise and will chase out everyone except the hardcore “fired-up brahmacãrìs,” who collect all the whompers and gongs they can find to make the kìrtana “more ecstatic.” This behavior is a deplorable loss of kìrtana culture. If you are attached to receiving praise and respect, or if you try to make the kìrtana artificially “ecstatic,” whom will you please?

Please learn to sing and play for Këòøa. Even if you are not a trained musician, you will inspire all the devotees because you are anyãbhilãòitã-åúnyam, free from any other desire than to please Këòøa, and are acting on the platform of pure devotional service. Play in a simple, natural way with the understanding that the Lord is standing before you on the altar. He personally listens to the kìrtana.

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You don’t have to be a great musician; you have to be a great devotee. Then your kìrtana will inspire everyone.

If, however, you are a great devotee and a great musician, then you can certainly touch the hearts of the devotees by giving them a new spiritual experience. You can enliven devotees by increasing their taste for hearing and chanting. And most of all, you can please Këòøa, because He is extremely satisfied upon hearing the pure sweet style of Vedic music.

Performing kìrtana can be compared to cooking for Këòøa. You can cook any preparation to your best ability. If you cook with love and devotion, Këòøa will be satisfied and will accept your offering. Still, if you love Këòøa, you will find out exactly how the sabjì has to be spiced, which kinds of vegetables Këòøa likes to eat, and what kind of sweets He prefers to take. Your cooking becomes perfect. He will be very pleased and will relish your offering.

In the same way, if you perform kìrtana according to Këòøa’s liking, He will be very pleased. One day, the Deities will jump down from the altar and dance to your singing and playing, just as They did during the famous kìrtana of Årìla Narottama dãsa Óhãkura.

Know the Time of DayThe åãstras give a clear understanding of how certain sound

vibrations are suited to certain times of the day. As Årì Këòøa spends his day performing different pastimes, there are different tunes called rãgas and rãgiøìs, which correspond to the mood of the times of day.


When this knowledge is realized, we will sing and play appropriate tunes and mëdaùga mantras.

In his book Appreciating Navadvìpa Dhãma, H. H. Mahãnidhi Mahãrãja gives the following story. Once, Årì Nãrada Muni went to the heavenly planets and began to sing. The words were good and his voice was sweet, but since he had not learned the art of singing for the particular time of day, the melody was incorrect. Sura Deva, the presiding deity of melody, was present in the celestial assembly, and his body became physically deformed from hearing Nãrada’s singing. The other demigods felt pain in their hearts. One of the devas told Nãrada, “My friend, your improper singing has caused Sura and all the beautiful singers present to become ugly and deformed. You should immediately go and learn the art of singing correctly.” Nãrada learned the appropriate melodies from Årì Sarasvatì Devì, the goddess of learning, and returned to the assembly. Then he sang the song again, this time with the correct melody, and the residents regained their original forms. After this, Årì Nãrada became celebrated as the foremost singer of beautiful devotional songs. His fame is glorified in the Gìtãvalì:

nãrada muni, bãjãya vìøã, ‘rãdhikã-ramaøa’ nãme nãma amani udita hoya

bhakata-gìta-sãme

“When the great soul Nãrada Muni plays the stringed vìøã, the holy name of Rãdhikã-Ramaøa descends and immediately appears amidst the kìrtana of the Lord’s devotees.”

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Årìla Prabhupãda knew this principle. He gave clear advice on which melody to sing according to the time of the day, and he repeatedly interrupted kìrtana and corrected devotees singing the wrong tune. If you follow the system set up by Årìla Prabhupãda, you can be sure to sing the proper tune at the proper time. You can learn many more tunes from a bona fide music guru. But until you increase your knowledge of music, you should strictly adhere to the system taught by Årìla Prabhupãda.

Don’t Jump into the EcstasyLike any piece of classical music, each kìrtana is a composition

that gradually develops in intensity and speed. The grade of progress depends on the mood of the singer and on time, place, and circumstance. During maùgala-ãrati, for example, you should meditate that Këòøa is just rising from sleep and entering a new day. Thus, the kìrtana is sweet and soft, accompanied by only one mëdaùga and two karatãlas. Even towards the end, the kìrtana doesn’t become fast. The Gaura-ãrati, however, is sung with the understanding that Këòøa has finally returned from the forests and meadows of Govardhana. After a long day of separation, our beloved Këòøa is back, and thus we sing in a happy, joyful mood, producing exuberant kìrtana with many instruments and fast rhythms. Still, the basic system is that you start slowly and gradually increase the speed.

The mëdaùga player must know the different mantras that are played according to the mood of the kìrtana. Basically, there are twenty different speeds, which are expressed through twenty different mantras on the mëdaùga, together with the respective endings and


decorations. The system is vast and elaborate, and only professional players will be able to learn and apply all the twenty speeds. For normal kìrtana, the first five speeds are sufficient. They can be learned quite easily. In this course you learn the first four speeds, together with various endings and decorations. They give you a solid basis for playing in a dynamic and inspiring way. With these four speeds, you will know more than most mëdaùga players in ISKCON.

How the four speeds are played during kìrtana is explained in the Tenth, Eleventh, and Twelfth Months of this course. The process is that you develop them gradually. Only in rare cases do you jump over a speed. Try to catch the mood of the singer, assist him in gradually building up the intensity of the kìrtana, and culminate in a brilliant finale. When the kìrtana reaches a climax, the singer may begin again in a slow tempo: only then do you play slowly again. If you go to a higher or lower speed at the wrong time, or if you don’t change the speed at the right time, you destroy the atmosphere. It is called rasãbhãsa, a contradicting mixture of kìrtana mellows—the singer wants to go in one direction and you pursue another.

If you consider these points, you can understand why you don’t learn kìrtana mantras in the beginning. To play properly in kìrtana is a responsible and demanding task. First, your hands have to be trained so that your mind is free for the kìrtana. Then, you need a lot of practice, and you have to communicate with the lead singer.

Follow the Kìrtana LeaderWhile playing the mëdaùga, you must follow the kìrtana leader

and not lead him. The instruments should be softer than the song.

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The mëdaùga must never sound so loud that it buries the song. The mëdaùga should be like the string in a garland. A garland cannot be made without flowers, nor can it be made without the string. Both the flowers and the string are equally important. The flowers are compared to the song, and the string that holds them together is the mëdaùga. Just as the string in a garland is not prominent, so also the mëdaùga is less prominent than the song. Playing louder than the singer is a disturbance. This is the understanding according to the ãcãryas.

You are part of a team. You have to communicate, especially with the lead singer. Communication starts before the kìrtana. If the singer and mëdaùga player don’t know each other, they should sit together and discuss how they want to sing and play, how they can be in harmony with each other, and who will play the other instruments. The singer has to know how good the mëdaùga player is, and vice versa. Arrange signs and gestures for breaks, change of speed, and so on—all professional musicians do so. During the kìrtana, keep eye contact with the singer. To do so, you have to play without looking at the mëdaùga.

If several mëdaùgas are played together, one player has to be the leader and the others have to follow him. As a matter of etiquette, the junior players follow the senior, and as a matter of cooperation and humility, the senior player stays on a level that can be followed by the juniors. He also has to take care that only bona fide mantras from our Gauîìya Vaiòøava ãcãryas are played. Problems might arise if players from different teachers come together. They can practice together before the kìrtana and find a common level. For the sake of a pure, undisturbed kìrtana, one of them may decide not to play.


On a professional level, two or more mëdaùga players don’t necessarily play the same mantra at the same time. Often, they play a kind of question-and-answer game, thereby challenging each other. One of them plays a mantra during the kìrtana and the other one answers by playing the appropriate counterpart, generally by doubling the speed. If they play for the pleasure of Këòøa, not out of pride and envy, they tremendously increase the intensity of the kìrtana and make everyone dance joyfully. Also, the singer and the mëdaùga player can challenge each other, but this requires a mood of friendship and surrender to Këòøa.

However, this is above our level. In normal kìrtana, the mëdaùga players should always play the same mantras together. Arrange signs and gestures for tehãi and for changing speed. Nothing is more attractive than the same long tehãi being played on two or three mëdaùgas in uniform rhythm and intensity. Try to come to that level and you will tremendously increase the quality of kìrtana.

Manufacture of a MëdaùgaThe manufacture of the mëdaùga is an old, traditional handicraft.

Although simple by appearance, the mëdaùga takes a lot of work and skill to assume its final shape. Until recently it was produced in small family workshops, often consisting of a mere clay hut. The following photographs illustrate the essential steps in making a traditional clay mëdaùga.

1�3 Sixth Month

(1) The raw clay body is produced in a big pottery. The upper and lower halves are formed on the potter’s wheel and joined together after a short drying period. Then, the bodies are fired overnight in huge kilns using wood fires. If the burning process is right (if the heat is strong enough), the body resounds like a bell metal gong. If not, the sound will be rather flat.

A flat, solid cotton braid is wound around the clay body. It offers support and protects the body from breaking too soon.

(2) The body is painted with a mixture of natural color and cooked-rice paste, which serves as a glue for fixing the cotton braid. The colors generally used are light blue, red, and yellow. After being painted, the body is put aside to dry.

(3) Meanwhile, cowhide has been dried in the sun by being stretched flat on the ground. After being thoroughly cleansed of flesh and hair, the hide is usually colored red and yellow. Then the required parts are cut out. In the photograph, we see the piece for the big mëdaùga head. It comes from the cow’s belly and is soft and elastic. Thirty-two holes are uniformly made in a circle, serving as assembly points for the ring and the tightening strap.


(�) For each head, two pieces of leather are needed. The one below is the actual drumhead, and the upper one will later be cut into a ring-shaped frame by which the drumhead is tightened. Both pairs of leather are soaked in water until they become soft. They are put over the mëdaùga heads and shaped until they fit nicely. Then they are fixed provisionally with a cord. After drying, they will keep their shape.

(�) To form the rings (chãka) is the most delicate work. Small leather straps are wound around the leather to make the ring. It needs a lot of experience to obtain a ring that is uniformly thick, round, and level. The chãka on the small head has to jut out by about one inch (two and a half centimeters), because later, when the head is tuned, it has to be knocked down.

1�� Sixth Month

(�) The end straps are bound in loops. They will hold the shoulder strap.


(�) The upper piece of leather is cut into a ring shape. A small hole has been cut beforehand, and a wooden scraper is shoved through that hole to protect the lower piece of leather (the drumhead) from being damaged. With a chisel or knife, the ring is carefully cut out. A sign of good craftsmanship is a ring that is cut smooth and even.

(�) Next the gãba (fine iron powder mixed with cooked-rice paste) is applied to the drumhead. The gãba provides the sound, since the leather is too light to vibrate and resound. It has to be creamy and glutinous. A small amount is applied to the drumhead with a cylindrical stone and distributed equally in circular movements. With the help of a wooden scraper, a narrow strip is cleared around the edge to achieve a round shape. Each layer has to dry thoroughly in the sun.

1�� Sixth Month

On average, four layers are applied on each side, but the number depends on the weather conditions. For wet, warm weather, as in Bengal, less than four layers are needed, because naturally the leather will be soft and the sound low. For dry or cold climates, more layers are needed to make the drumhead heavier and thus tune it down.

(�) Ideally, the pulling strap is made of one piece of leather. It is cut in a spiral line from the

cowhide and straightened by wetting it and then drying it under tension. One end of the strap is tied to the big ring, and the other end is pointed like a needle. The strap is drawn through the thirty-two holes in the rings at either end of the drum. When complete there are thirty-two straps.

(10) The strap is pulled thoroughly to tighten the drumheads. Starting at the beginning where the strap is knotted to the big ring, the strap is pulled at the side of the small head only, because here the strongest tension is required. If pulled in the middle, the strap will break. In this way, at each eyelet of the small ring the strap is pulled


until all thirty-two straps are tight. The end is rolled and put under the straps.

(11) Finally, the small drumhead has to be tuned. To achieve the desired high sound, a lot of tension is required. For this, the chãka is knocked down with a tool, like a stone or an iron rod. This needs experience and a good ear. First, with the fingertips the bhãøîa (mëdaùga-maker) finds the spot with the lowest sound. This is the point with the least tension. At that spot, he hits the ring down quite strongly. Some of them utter a short prayer before this operation. He has to hit in exactly the right way. If he strikes toward the body, it will break. If he strikes too much the other way, the tool will slip and damage the strap, and later the strap will break at this point.

He repeats the procedure until the desired sound is achieved.

The new leather will warp until the final consistency is attained. After two or three weeks of being played, the mëdaùga will be tuned a second time.

The mëdaùga-bhãøîa (right) and his crew proudly present themselves with their precious products.

Seventh Month


Seventh MonthHasta-Sãdhana and Hãtuti

Practice only the following two mantras for about one week and then add them to your usual daily practice.

HS � #deregeda#ghenenere#ghenaghene#nereghena#nereghena#terekheta#khenenere#khenakhene#nerekhena#nerekhena

Translation

dere geda (as in HA 3, page xxx. Da is played very strongly.)

ghene nere ghena, khene nere khena

(as in HS �, page xxx)

tere kheta (as usual)

Æ HA � #ghenetere#ghenetak#terekheta#ghenetere#khetaghene#tereghena##taktere#tereghena#tereghena#tereghena

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Translation

ghene tere ghene (like ghene nere ghena above)

tak Right 4 closed (strong)tere kheta, ghene, ghena (as usual)

How to practice

Æ This mantra has a very special, attractive melody that is used in kìrtana. Listen to the CD or MC and try to play the same as you hear it. To do so, you must play at double speed.

Tehãi—Endings for Kìrtana MantrasNow we introduce the first tehãi for kìrtana. When you sing Hare

Këòøa and play the Ãrati Mantra, K 1, you have to play tehãi at the end of each Hare Këòøa mantra. How this is done is explained later. The word tehãi comes from the Bengali word tina, three, because the mantra is divided into three parts.

Why play tehãi? You can compare the kìrtana to a nice prasãdam feast. The Ãrati Mantra and the kìrtana mantras are like rice. Rice is tasty, but the real taste comes from the various sabjì preparations. The different tehãi are compared to the sabjì of the feast. They make the kìrtana tasty and variegated. There are thousands of different tehãi, and many of them are on a very high level. In this course you will learn twenty basic tehãi, by which you can add a lot of taste to the kìrtana.


Æ TEH 1 (khetakheta/jha)§ or #khetakheta#jha kheta#khetajha #khetakheta

Æ TEH 2 (terekheta/jha)§ or #terekheta#jha tere#khetajha #terekheta

Æ TEH 3 (khetagurugur/dhei)§ or #khetagurugur#dhei kheta#gurugurdhei #khetagurugur

Translation

kheta, tere, guru gur, jha ( a s dhei (like jha)

How to practice

Æ Look at the rhythm. Because these tehãi take four mãtrã each, we cannot apply mãtrã dashes to the abbreviated form. The mãtrã are in a different place in each repetition, as shown on the right-hand side.

Æ In TEH 3, you can see that guru gur is played at double speed. You will find guru gur in many tehãi and kìrtana mantras, and it is always in double speed. So continue to practice Hãtuti 1 with great enthusiasm.

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Æ The note after the slash (jha or dhei) bears the melody of the tehãi. You have to play it strongly (like dhei in the Ãrati Mantra).

Æ Practice these mantras separately for about one week until you can play them swiftly without having to concentrate on how to play; your mind should be free for the kìrtana. Look at the explanation to the tehãi of Hãtuti 1 (page xxx) to see how to play these mantras continuously.

Then, by following the explanation below, try to sing the Hare Këòøa mahã-mantra or an ãrati song while playing the Ãrati Mantra with these tehãi. But don’t forget your daily practice of hasta-sãdhana and hãtuti.

Playing the Ãrati Mantra with Tehãi Now we can practice playing the Ãrati Mantra, the basic kìrtana

mantra, with tehãi. Let us examine the rhythm in detail:

Æ On counting the mãtrã, you see that each of the above tehãi takes four mãtrã, half of the Ãrati Mantra. Later we will introduce longer tehãi, but for now let us look at the basic system.

Æ To sing one complete Hare Këòøa mahã-mantra, you have to play the Ãrati Mantra four times: Once on Hare Këòøa Hare Këòøa, once on Këòøa Këòøa Hare Hare, once on Hare Rãma Hare Rãma, and once on Rãma Rãma Hare Hare. Rather than starting with khik_ khi neda gida gida, you start in the middle of the mantra—on dhei. As we have already mentioned, the tãla does not necessarily start at the beginning of the mantra. In this case, the tãla starts in the middle of the Ãrati Mantra, on dhei.

1�� The Twelve-month Mëdaùga CourseÆ Thus, on Hare Këòøa you start with dhei ta uru tete ta, which

is half the Ãrati Mantra. Then you play three complete Ãrati Mantras and then, on the last Hare Hare, you play one of the tehãi. Then you have completed the equivalent of four Ãrati Mantras, because the tehãi occupies the last half mantra.

Æ Immediately after the tehãi, play dhei ta uru tete ta for the next mahã-mantra. This is the basic system for kìrtana.

Æ The notation of the tehãi, (kheta kheta/jha)§means you play kheta kheta jha three times, but instead of the last jha you play dhei of the next Ãrati Mantra.

As an example, let us take the first tehãi, sung in the standard melody at maùgala-ãrati. (We have shown the mãtrã divided into two by placing smaller vertical lines above the mantra):

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

Ha re Kå çëa

#khik #_ khi #ne #da #gi #da #gi #da dhei # #ta #uru #te #te #ta

Ha re Kå- ‘na Kå- ñëa Kå- ñëa


Ha re Ha re Ha re Rä ma


Ha re Rä ma Rä ma Rä ma

#kheta #kheta jha #kheta #kheta jha #kheta #kheta dhei # #ta #uru #te #te #ta

Ha re Ha re Ha re Kå ñëa


The Second SpeedAs explained in the section about playing kìrtana (page xxx), there

are twenty different speeds, which gradually increase the tempo and volume of the kìrtana. The Ãrati Mantra is the First Speed. (Therefore we gave it the name K 1.) It is played rather slowly. When the kìrtana gets faster, you have to switch to the Second Speed:

Æ K 2 #daghi#tete#take#dhena

Translation

da (like jha)ghi Left open (stronger than da)te Right 1 opente L e f t Right 3 closedta Right 4 openke Left open (not strong)dhe (like jha) (left hand strong na Right 4 open

How to practice

Æ Dhe bears the melody of this mantra. It has to be played stronger than the other open sounds (like dhei in the Ãrati Mantra). Listen


to the CD or MC.

Æ The system of applying this mantra in kìrtana is the same as for the Ãrati Mantra, but notice that this mantra is only half as long. Therefore, you play it seven times and one tehãi to complete one Hare Këòøa mahã-mantra.

Æ Practice it separately first, while speaking the mantra, and then play it in kìrtana with a tehãi that you have learned.

Appearance of Årì Mëdaùga in Gaura-lìlãOur mëdaùga ãcãryas have explained the origin of the mëdaùga

as follows: When Årì Këòøa decided to descend to the material world as Caitanya Mahãprabhu, He said to His flute, “I have an important mission to fulfill. Thus I will go again to the material world, but this time you cannot go with Me. Please stay here in Gokula with Rãdhãrãøì and pacify Her.”

On hearing the words of his beloved master, the flute fell into deep lamentation and asked, “My dear Lord, how can you leave me? Without being by Your side, my life is useless and void. Why are You neglecting me? What have I done to deserve this?”

Årì Këòøa explained that He would descend as His channa-avatãra, hidden incarnation, as His own devotee, as a sannyãsì with a golden hue, not in His original bluish form, adorned with peacock feather, cowherd stick, and bugle. He could not carry the flute without disturbing His devotional sentiments and uncovering His disguise. Therefore, for this particular mission the flute had to stay in Vëndãvana.

1�� The Twelve-month Mëdaùga CourseUpon seeing His flute greatly distressed, He became compassionate

and said, “You can come with Me, but you also have to assume a different appearance, one that corresponds to the mood of my mission.” The flute happily agreed and was transformed into the mëdaùga.

From this story we can understand that the flute is very dear to Årì Këòøa and plays an important part in His pastimes. Similarly, the mëdaùga is very dear to Årì Caitanya Mahãprabhu and plays an important part in His saùkìrtana mission, especially harinãma-saùkìrtana.

Who Sets the Pace?Another important aspect of kìrtana is the karatãla players. They

are the support of the kìrtana; they are the leaders in the sense that they set the pace. As fast as they play, the mëdaùga follows. Usually, the lead singer plays karatãlas so he can direct the tempo. On the other hand, the karatãlas have to follow the mëdaùga player in terms of mantra. If he plays in single speed (First or Second Speed), they also have to do so. And if he enters Third Speed, they also have to play twice as fast. Otherwise they spoil the kìrtana. The mëdaùga player must, therefore, play a decoration mantra before entering the Third Speed, and then everybody knows that the mantra speed will be doubled.

The karatãla players have to know the mëdaùga mantras or at least be able to identify them. Otherwise, how can they follow? If they do not know, they must be trained. Organize a karatãla seminar. This usually inspires the devotees when done nicely.


The kìrtana leader should take the responsibility of selecting the karatãla players. He should collect the instruments beforehand and personally hand them to good players who know the system. They must be able to keep the rhythm and to play double speed nicely. A new bhakta or bhaktin who does not even know how to hold the karatãlas properly should have nothing to do with the kìrtana band. He or she should just listen and chant, absorbing the mind in the holy name and developing a feel for rhythm. Don’t hesitate to take an instrument away from an untrained player. Allowing him to play, thinking you are not qualified to interfere, is false humility. The kìrtana leader is responsible for maintaining the highest standard possible according to the circumstances. He should therefore choose the best players. The kìrtana will be better with fewer instruments than with unqualified players. If the kìrtana leader does not take up this responsibility, you should humbly request him to do so.

Sometimes you see a lonely karatãla player somewhere in the back of the temple room. Such behavior is nonsense; order him to the front. The kìrtana leader and the players should be together. Otherwise how can they communicate with each other and play together?

If you stay at a temple or center for a long time, make it your mission to train up a permanent team of inspired musicians. Try to inspire them to establish the bona fide system. You can all study this section together. A fine team of kìrtana players is an immense asset for every temple, especially if you regularly perform harinãma-saùkìrtana on the street. If you sincerely and humbly endeavor in this way, you will derive great benefit for your personal mëdaùga studies, because Këòøa and His devotees will be pleased with you.

1�0 The Twelve-month Mëdaùga CoursePure bell-metal karatãlas are the best. The sound should be clear

and open, not flat. Large karatãlas should have a low-pitched sound, corresponding to the big head of the mëdaùga, and small karatãlas should have a high-pitched sound, corresponding to the small head of the mëdaùga. Karatãlas also have specific mantras. They are the most important instrument in the kìrtana, because they keep the rhythm. If you would like to learn more about playing karatãlas, please contact me.

What the Karatãlas SayThe well-known “one-two-three” karatãla rhythm conveys a

message to the devotees:

mrtyuõ jayeyaõ åamanaõ jayeyaõ tat-kiùkarãõå cãpi sukhaõ jayeyam

årutveti dúrãt kara-tãla-åabdaõ saùkìrtanaõ te khalu nopayanti

“‘I will be victorious over death, I will be victorious over Yamarãja, and I will very happily be victorious over all his servants.’ By hearing the sound of the karatãlas from afar, these three (death, Yamarãja, and his servants) do not come anywhere near the performers of kìrtana.” (Bhava-sindhu-tãraøì)

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Who Should Sing?Vaiòøava etiquette demands that the most senior devotee is the

leader of an assembly. The same applies to kìrtana. If a senior sannyãsì is present, he should sing. What if he cannot sing nicely and other experienced singers are present? If he allows them to sing, they should do so, but he has the prerogative. We can consider, “Who is really the better singer? Who sings from the heart for Këòøa?” He may not stick strictly to the tune and rhythm, but if he is an advanced devotee, he will transcend these limitations. I have often seen sannyãsìs leading kìrtana and making everybody dance and sing in ecstasy. The power of their pure devotion inspires everyone, although externally their performance may not be technically accurate. For a pure devotee there are other laws—the laws of åuddha-bhakti. Such devotees are empowered by Këòøa.

On the other hand, an advanced devotee will never step forward and claim the right to lead the kìrtana. Out of humility, he will wait until he is asked to sing. Årìla Narottama dãsa Óhãkura had to be urged by the whole assembly of Vaiòøavas before he started his legendary prema-kìrtana. Senior devotees should therefore select the singer, and they should do so before the altar doors open. Then, the kìrtana can start at the beginning of ãrati.

Temples with many singers may benefit by making a schedule of the lead singers. When I was in Mãyãpura, I trained about fifty singers. Twice a week we had class, and they learned the whole system: how to sing the various songs of the program, how to apply the different mantras, how to play the karatãlas, and so on. When they were trained, they got a certificate. No one was allowed to lead

1�2 The Twelve-month Mëdaùga Coursethe kìrtana without the certificate. Once a week they had an iòóha-goòóhì and made a schedule for the singers. Everybody knew when it was his turn, and if someone couldn’t come, he had to arrange for another singer. Gradually we built up a nice kìrtana atmosphere for which Mãyãpura became renowned. If you stick to all these points and practice nicely, you will be able to create a similar atmosphere at your center.

Care and MaintenanceLike any musical instrument, the mëdaùga is very sensitive and

has to be maintained with proper care. Moreover, it is not only a devotional instrument but also a confidential associate of Këòøa. Therefore, one should assume a proper attitude in dealing with årì mëdaùga.

(1) Respect and Worship

The devotee who understands the personality of årì mëdaùga will take good care of his instrument. He will love and respect his mëdaùga just as he would respect Lord Nityãnanda.

You can make an altar for your mëdaùga and every day offer incense, flowers, water, and candana (sandalwood pulp). The candana can be offered carefully onto the straps of the mëdaùga. The big end of the mëdaùga is considered to be the head, and the small end, the feet.

You should never play on the mëdaùga in an angry or disruptive mood. If you find yourself practicing without proper respect, stop

1�3 Seventh Month

immediately and pray to årì mëdaùga for forgiveness. Then, after collecting yourself, continue in a humble mood. You will recognize that the quality of your playing increases significantly.

(2) Storage and Transport

Just as we offer the Deity a mattress, the mëdaùga can have a bed in the form of an oval ring made from tightly coiled cloth. In Bengal, the oval ring is stuffed with straw. When sitting on the floor, you can comfortably play the mëdaùga while it is lying on the oval ring. When it is not in use, the mëdaùga can be covered nicely in a cloth kept for this purpose.

Do not leave your mëdaùga standing on the ground or in an unclean place. If you leave it standing, it should be on a cloth. You should not keep your mëdaùga hanging from a hook on the wall—you would not treat your Deity in that way. However, if you live in a place where rodents may nibble the straps, you may need to hang up your mëdaùga to keep it out of their reach.

If you regularly travel with your mëdaùga, you should have a special transport cover, which you can buy in a cloth shop in Vëndãvana or Mãyãpura. During kìrtana the mëdaùga should be unwrapped to make the proper sound.

(3) Cleanliness

Sweat affects the leather skin and eventually destroys it. You should always wash your hands with soap and water before practicing. You should also clean the mëdaùga heads from time to time. Under normal conditions, once a week is sufficient. The

1�� The Twelve-month Mëdaùga CourseVedic system is to use unboiled cow’s milk, which draws out the salt. Don’t use water, since it makes the leather brittle. Soak a clean cloth in milk and carefully rub the leather. Do not touch the gãba, the black layer on the drumhead, with the wet cloth or you will ruin it.

If your hands sweat when you are playing, the heads will be destroyed. You can see when you are sweating, because your fingers will become black from the iron powder paste of the gãba. If this happens, immediately stop playing and put talcum powder on your hands. Sweat is a big enemy of the mëdaùga. Never give your own instrument to a player whose hands perspire. If sweat runs down from your arms, use cotton armlets (as used by tennis players). Sweating is a sign of using a wrong technique. If you learn to play properly, your hands will dance over the mëdaùga heads without effort and without sweating.

Generally, you should adopt all the principles of internal and external cleanliness, which are an integral part of devotional service. Your fingernails should be cut regularly and kept clean. Thick, hard skin, which may develop where the skin hits the mëdaùga, especially on the right thumb, should be cut away cautiously, because hard skin causes unnecessary pain. Chapped skin should be treated with cream, such as Vaseline, or it can become very painful. After practicing regularly for some time, your technique will improve and these problems will gradually dwindle.


(�) Weather Conditions

In India there are six seasons: grìòma (summer), varòã (rainy season), åarat (autumn), hemanta (dewy season), åìta (winter), and vasanta (spring). During the different seasons we have to take care of the mëdaùga in different ways. In cold, wet weather the mëdaùga should be kept in a warm place, covered with a cloth, and should not be hung from the wall. If the sound goes flat, it can be raised by carefully placing the large drumhead near a heater. The air inside will heat up, expand, and tighten the leather to produce a higher sound.

During the hot, dry season the pitch of the mëdaùga becomes too high. It can be lowered by running a small, damp sponge or cloth around the white inner ring of the large head. Be careful not to get water on the gãba or it will be damaged. My student Gaùgã devì dãsì in Korsnas Gard, Sweden, told me she had to do this because, although it is cold in Sweden, it is dry. Later we ordered a special mëdaùga for her, with a very soft hide for the big head. Now the sound stays low, but she cannot use this mëdaùga during wet weather because it will produce no sound at all.

If your mëdaùga is constantly too high pitched, you can apply an extra layer of gãba on the big head. The increased swinging mass gives a lower sound. The proper procedure is described below.

Under certain conditions, a mëdaùga may sound too low during kìrtana, although it sounded nice at the beginning. You

1�� The Twelve-month Mëdaùga Coursecannot stop during the kìrtana to heat it up, but you can use another remedy. Gently bump the ring of the big head on the ground, on all sides. By this action, the ring is pressed towards the body and the skin is straightened. Do not bump too hard or you will break the clay body. If this loss of proper sound happens regularly you should tighten the straps, as described below.

(�) Overhaul

When the high sound of your mëdaùga goes significantly low, it is necessary to tighten the straps and tune the small drumhead. In the section on how a mëdaùga is produced we have described this process in detail. (See page xxx) The best way is to ask an expert, since it needs experience and a good ear. Before trying to do it yourself, you should have watched a mëdaùga-bhãøîa perform this procedure.

From time to time you also have to replace or repair the gãba, the sound-giving layer on the drumheads. Small chinks and spots being broken away will not disrupt the sound quality, but if the gãba becomes significantly damaged you will have to replace it. The mëdaùgas in the Vëndãvana Gurukula are used eight hours every day, and the gãbas have to be replaced three or four times a year.

The layer on the small head always has to be replaced completely. If you repair it, you will not get the proper sound. Place the mëdaùga flat on the ground on the large drumhead. Apply plenty of water on the small drumhead. The gãba should be completely covered in water. After five or ten minutes it can be


removed easily with a flat instrument, like a wooden scraper. Do not use a metal tool, since it may damage the leather. If necessary, repeat the process; do not scrap away remaining parts by force. Allow the leather to dry completely before applying the new layer. Do not touch it with your hands, because the salt from your skin would prevent the new gãba from sticking properly.

The layer on the big head can be repaired instead of being completely removed if it is not badly damaged. To repair it, you sand down the upper coating with sandpaper (grain 80 or 100). When the surface is rough, you can apply the new gãba. Again, do not touch the surface with your hands.

For Western weather conditions you should only use iron powder for the gãba, not synthetic resins or brick dust. You can buy iron powder in India from your mëdaùga-bhãøîa. To prepare the paste you must use wholegrain rice, which contains sufficient starch. (White Basmati rice is useless for this purpose.) Cook the rice until it is of eating consistency. Let the rice cool down and press the water out. Take a small amount of rice and thoroughly mix it with the same amount of iron powder until you obtain a completely homogeneous substance. It should be creamy and glutinous, like thick glue. If necessary, add some drops of water. Using a cylindrical stone, apply a small amount of the mixture and thoroughly rub it onto the skin. Move the stone in circular motions; you will need some practice to achieve an even surface. Finally, take a small wooden scraper of about one finger’s breadth and smooth around the edge. You can store the mixture in a tightly closed box.

Eighth Month


Eighth MonthHãtuti

Hãtuti 5 trains you to change from single to double speed. This is very important for combining the Second Speed and Third Speed. Hãtuti 6 has a very beautiful melody as soon as you play at double speed. Listen to the CD or MC and try to make the mëdaùga speak.

Æ HA � (Single speed) {#khigurugur#daddhin(#tetetete#khetatak)§}§

(Double speed) (#deredereghenanak#tereterekhetatak)§(Tehãi) (#deredereghenanak#tereterekhetatak/#jha)§

Translation

khi Left closedguru gur (as usual)dad dhin (as in HA 3, page xxx)tete tete (like tere tere)khe Left closedta Right 3 opentak Right 1 up (strong sound)dere (as in HA 3)ghe Left open (stronger than

both de in dere)

1�1 Eighth Month

na Right 3 opennak (like tak above)tere tere kheta tak (like tete tete kheta tak

above, but double speed)jha (as usual)

How to practice

Æ As in HD 3 (page xxx), there is a repetition within a repetition.

Æ Try to play tak and nak very strong, with a clear stroke and a high pitch. Later, when playing bhajana mantras, you will derive great benefit from this hãtuti. Also, play jha strongly, since it is the last note of the tehãi.

Æ Start by practicing very slowly, in order to play the double speed properly. Gradually increase the speed. Eventually you should be able to play the first part at normal kìrtana speed and the second part will be fast, in double speed. Listen to the CD or MC.

Æ HA � #daddhin#deregeda#daddhin#deregeda#daddhin#teretere#khetatakhi#terekheta#deregeda#deregeda#jhetenete#gedajhete#netegeda#jha_#tetenete#netekheta#khetenete#netekheta#deregeda#deregeda


Translation

dad dhin dere geda, tere tere kheta takhi tere kheta

(as in HA 3, page xxx)

jhe te nete geda (like ghene nere ghena)jha (notice the space after jha)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 repeatedly. Carefully study the explanation in the technical section (page xxx) before you start. This hãtuti prepares your hand for the Third Speed and for tehãi that come later.

Æ HA � #dheretete#dheretete#dhatdhat#dheretete#dheretete#dheretete#dhatdhat#dheretete#dhatdhere#tetedhat#dheretete#dheretete(#khetakheta#gadeghine#terekheta#gadeghine/#jha)§

1�3 Eighth Month

Translation

dhe Left open + Right 1 closedre Right 3 closedte Right 1 closedte Right 3 closeddhat Left open + Right 4 closed (the

second dhat is slightly stronger than the first)

kheta kheta gade ghine~ (as in TEH �, page xxx)

How to practice

Æ Look at the rhythm of the last line of this hãtuti: Jha is only one fourth of the part before it, instead of one half as in the tehãi that you have already learned. Thus, the last line takes 14 mãtrã. It is a different tãla.

Æ Take care that you play the closed beats clearly closed. Listen to the CD or MC and try to produce the same high and distinct sound. Practice very slowly in the beginning. You should invest a lot of time in this hãtuti, since it gives you the basic technique required for many kìrtana and bhajana mantras.

TehãiTehãi 4, being the same length as the first three tehãi, is applied

in the same way; play it on the last Hare Hare. Ta klanta is a very

1�� The Twelve-month Mëdaùga Coursepowerful sequence in kìrtana. Listen to the CD or MC to hear how it sounds.

Æ TEH � (taklanta/jha)§ or #taklanta#jha ta#klantajha #taklanta

Translation

ta Right 4 openklan Both hands 4 open on the small

head—strong sound

(See page xxx for a detailed explanation of this stroke.)

ta Right 4 openjha (as usual)

The next two tehãi are twice as long as the ones you have already learned and are as long as one Ãrati Mantra. They are played from Rãma Rãma, as shown below.

Æ TEH � (#terekheta#gadeghine/#dheiya)§

Æ TEH � (#dada#gadeghine/#jhagurugur)§

1�� Eighth Month

Translation

tere kheta (as usual)ga Left opende Right 4 closed (very strong

sound—this note bears the melody)

ghi Left openne Right 4 open dhei (like jha)ya Right 4 openda da Left open + Right 4 closed

(2 times)gade ghine (as above)jha guru gur (as usual)

How to practice

Æ Count the beats. The first two repetitions take three mãtrã each and the last one, two mãtrã. Therefore the total is eight mãtrã.

Æ Practice these mantras separately until you are familiar with them. Then try to play them together with the Ãrati Mantra, while singing the Hare Këòøa mahã-mantra. Follow the advice below and listen to the CD or MC.


Playing Tehãi that are the Same Length as the Ãrati Mantra

Since the Hare Këòøa mahã-mantra takes four Ãrati Mantras altogether, you have to start these tehãi after playing three Ãrati Mantras—more exactly, after having played one half mantra plus two and a half, because you begin in the middle of the mantra. Therefore, you start playing the tehãi after the third khik_ khi neda gida gida. Look at the following example (again using the standard melody at maùgala-ãrati):

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

Ha re Kå ñëa

#khik _khi #ne #da #gi #da #gi #da #dhei #ta #uru #te #te #ta

Ha re Kå ñëa Kå ñëa Kå ñëa

#khik _khi #ne #da #gi #da #gi #da #dhei #ta #uru #te #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 #dhei #ta #uru #te #te #ta

Ha re Ha re Ha re Kå ñëa...


The Third SpeedWhen the kìrtana becomes fired up, you have to play fast in double

speed. The mantra is called the Third Speed. The mantra looks like the Second Speed mantra, but it is played in a different way. And being twice as fast, it takes only two mãtrã dashes instead of four.

Æ K 3 #daghitete#takedhena

Translation

da Left open Right 1 openghi Left open (stronger)te Right 3 closedte L e f t Right 1 openta Right 1 openke Left open (not strong)dhe Left open

+Right 3 closed

(left hand strong)na Right 1 open

How to practice

Æ As in the Second Speed, dhe bears the rhythm. It is the strongest stroke in the mantra. Also, ghi has to be stronger than da. Many devotees don’t play ghi at all, and they lose the beautiful melody of this mantra.

1�� The Twelve-month Mëdaùga CourseÆ Your right hand plays continuously 3–1–1–(space), with three

fingers closed and 1 finger open sound. If you play this sequence clearly, the mantra becomes very dynamic. Look in the technical section (page xxx) and listen to the CD or MC to hear the special rhythm of this mantra.

Æ Count the mãtrã: the Third Speed fits four times in one Ãrati Mantra. To complete one Hare Këòøa mahã-mantra, you have to play the Third Speed fourteen times and a short tehãi once.

Æ The Third Speed is one of the most demanding kìrtana mantras. It will take a long time before you can play it properly. During this month, practice it separately by playing it continuously. Start slowly (in the tempo of the Second Speed), and gradually play faster. But don’t forget your daily practice of hasta-sãdhana and hãtuti. Hãtuti 1 will give you the power to play the Third Speed.

The Four Sampradãyas of Gauîìya Vaiòøava Music

The Vedic music system is very advanced and deep. You have to learn it from a guru, or qualified master, who comes in a pure, direct line of disciplic succession. In our Gauîìya Vaiòøava music tradition we have four original sampradãyas:

(1) Gaîanhãói

This sampradãya originated from Årìla Narottama dãsa Óhãkura. It is accepted by the ãcãryas as the purest kìrtana and


bhajana style, but it is such a high level that hardly anyone today is able to play in authentic Gaîanhãói style.

(2) Manoharasahi

This is the style established by Årìnivãsa Ãcãrya and is the best-known kìrtana style among the Gauîìya Vaiòøava societies. It is also pure. It is easier to learn than Gaîanhãói but not as deep or as sweet. All mëdaùga players should first learn according to this sampradãya, and when they have mastered it, they can enter the vast ocean of Gaîanhãói. Later in this chapter we show the connection between these two sampradãyas and their specific features.

(3) Reøeti

This sampradãya was started by Åyãmãnanda Paøîita. It is a special blend of classical kìrtana music and an expression of Åyãmãnanda’s devotion. The name comes from its place of origin in Midnapura, in the district of Reøi Haói (Orissa). Reøeti kìrtana remained provincial and gradually it became less well known than the Manoharasahi style. Reøeti is less pure than the first two sampradãyas, but it is not offensive to use it in Këòøa’s service.

(�) Maøîãriøì

The origin of this style is unknown and the ãcãryas no longer accept it as pure. Therefore, one should not play it for Këòøa.


Narottama dãsa Óhãkura Created the Gaîanhãói Kìrtana

The following essay is translated from a handwritten manuscript by my first mëdaùga guru, Årìla Rãdhãcaraøa dãsa Bãbajì Mahãrãja. It gives an interesting insight into the origin of the Manoharasahi and the Gaîanhãói styles and explains how they are interconnected.

Årì Këòøa Caitanya Mahãprabhu is very compassionate, and by His mercy the mëdaùga and karatãlas appeared to form sweet kìrtana. The mëdaùga and Gauîìya Vaiòøava kìrtana are Bengal’s special wealth.

Årì Caitanya Mahãprabhu’s saùkìrtana movement is especially meant to relieve the people of this world from material suffering and help them go back to Godhead. We are Bengali Vaiòøavas, and our hearts should naturally beat for sweet kìrtana-rasa. Årì Këòøa Candra appeared as His own devotee and went from house to house throughout Bengal to distribute Këòøa consciousness. He explained the meaning of kìrtana-rasa and engaged people in harinãma-saùkìrtana. He very strongly encouraged everyone to sing the holy name, become happy, and go back to Godhead.

We must accept that our knowledge of Këòøa comes from Lord Caitanya, and by His mercy we are engaged in the kìrtana of rãdhã-këòøa-lìlã. By performing kìrtana, we help the devotees to float in the ocean of këòøa-prema.

Årì Gaura-maøîala-bhúmi is very fortunate, because it is drowned in the waves of the ocean of këòøa-prema. Åãntipura

201 Eighth Month

and Nadia are particularly floating in unparalleled ecstasy. [Åãntipura is the place where Årì Advaita Prabhu lived, and Nadia is another name of Navadvìpa.] The kìrtana societies, which are numerous in Navadvìpa, are especially fortunate, because they preserve and distribute this pure kìrtana.

Now we will discuss the history of the culture of our kìrtana. Before Caitanya Mahãprabhu appeared, the devotees practiced a different form of bhajana and kìrtana. This is stated in Årì Caitanya-bhãgavata. Also, the Caitanya-caritãmëta mentions that before the appearance of Caitanya Mahãprabhu, in Advaita Ãcãrya’s house, there were sweet readings of Årìmad-Bhãgavatam, and kìrtana was performed but in a different style than that practiced today.

At the time of the Lord’s appearance there was a lunar eclipse. The devotees assembled on the bank of the Gaùgã and performed loud harinãma-saùkìrtana to call for Årì Caitanya. From that day, the Gaùgã has been known as sura-dhvani Gaùgã. Sura refers to the devotees of the Lord, and dhvani means the loud sound of mëdaùgas, karatãlas, conchshells, gongs, and so on. From åãstra we can conclude that this kind of kìrtana was not the same as we know it today. But exactly how it was performed is very difficult to say, because we cannot find any books that describe it in detail. Later, Caitanya Mahãprabhu created the present form of kìrtana and the old style disappeared.

The way the Lord created this new style, by taking the essence of devotion from the old one, was very scientific and systematic. At that time, there was strong opposition from the degraded caste

202 The Twelve-month Mëdaùga Coursebrãhmaøas to any form of kìrtana. They convinced the Muslim prime minister to completely forbid any form of public kìrtana. The devotees secretly met in their homes and sang behind locked doors. Therefore, årì-harinãma-saùkìrtana was a hidden activity, and only due to Årì Caitanya Mahãprabhu’s unparalleled mercy did the nectar of këòøa-kìrtana enter each house in Bengal. For this reason, Caitanya Mahãprabhu is our parama-kìrtana guru.

About four hundred years ago, a very rich and intelligent king lived in the village of Keturi, in the Rãjasãhi district. His name was Këòøãnanda Daóóa. His only son, Årìla Narottama dãsa Óhãkura Mahãåaya, kept close company with the personal associates of Årì Caitanya Mahãprabhu and became the only disciple of Årìla Lokanãtha dãsa Gosvãmì Pãda. By the Lord’s mercy, he received the adhikãra, or qualification, to understand Lord Caitanya’s personal lìlãs. He wrote many small books on the essence of Lord Caitanya’s philosophy in sweet and simple Bengali, and he distributed them to ordinary people in their homes to enlighten them in Këòøa consciousness. Some of these books are Prema-bhakti-candrikã, Prãrthanã, and Pãòaøîa-dalana [Liberation of the Atheists]. His books contain elaborate descriptions of the system of rãdhã-këòøa-bhajana. By his mercy, the land of Bengal was floating in a second inundation of këòøa-prema. From brãhmaøa to caøîãla [dog-eater], everyone was drowned in ecstatic love of Këòøa. All kinds of people took initiation from Narottama dãsa Óhãkura, and they became happy in their spiritual life. They understood that he was not an ordinary devotee. He was empowered by Årì Caitanya Mahãprabhu to make them understand rãdhã-këòøa-lìlã.

203 Eighth Month

Fifty years after the disappearance of Årì Gaurãùga, Narottama dãsa Óhãkura organized a huge kìrtana festival in his own birthplace, Keturi Grãma. He assembled all the kìrtana singers and mëdaùga players from Bengal, and he invited all the Gauîìya Vaiòøavas. He brought the kìrtana sampradãyas together. If we read the two books Bhakti-ratnãkãra and Narottama-vilãsa, we will understand the greatness of this festival. The devotees happily came and celebrated a joyful festival in great ecstatic bliss. At first, the other sampradãyas were playing. Then Narottama dãsa Óhãkura started to play the mëdaùga, accompanied by mëdaùga and karatãla players of his sampradãya. First he played hãtuti and hasta-sãdhana mantras. Then he entered an ecstatic Gauracandra kìrtana, followed by many other forms of kìrtana. Upon witnessing his unprecedented performance, the other kìrtanìyas became overwhelmed in amazement. In ecstasy they danced to his sweet melodies. They realized that Årì Caitanya Mahãprabhu was personally present in the kìrtana. After Narottama dãsa Óhãkura finished playing, the kìrtanìyas and assembled devotees unanimously confirmed that they had never before heard such a sweet, nectarean kìrtana. They named his kìrtana style “Gaîanhãói,” after the name of the district of Keturi Grãma, Garera hãóa, where the festival took place.

After the Keturi festival, Årìnivãsa Ãcãrya and Årì Raghunandana performed similar festivals in their homes at Jãjigrãma and Årìkhanda. With the mëdaùga and karatãlas, they played the same nectarean, sweet melodies as Narottama dãsa Óhãkura had done in Keturi Grãma.


After hearing this story, the readers might ask, “If this kind of kìrtana was never heard before, how did Narottama dãsa Óhãkura learn the mëdaùga melodies, the karatãla style, and the sweet singing technique? Who was his kìrtana guru?” Some people say that Narottama dãsa Óhãkura did not have a kìrtana guru but he received blessings from the personal associates of Årì Caitanya Mahãprabhu to perform kìrtana like that sung by the Lord. However, according to the opinion of the ãcãryas of our kìrtana society, Narottama dãsa Óhãkura did have a kìrtana guru. Otherwise nobody would have accepted him. They say that when Narottama dãsa Óhãkura was staying in Vëndãvana with Årìnivãsa Ãcãrya and Rãmacandra Kavirãja, Årìnivãsa Ãcãrya became his kìrtana guru. This is true. Like all other great kìrtanìyas, Narottama dãsa Óhãkura had a guru who taught him to perform kìrtana, and His guru was Årìnivãsa Ãcãrya. Our kìrtana society has therefore been built on the system of sampradãya.

Before the appearance of Caitanya Mahãprabhu, kìrtana underwent two significant changes. The result was unclear, weak music, and the Lord changed everything a third time. Narottama dãsa Óhãkura followed Caitanya Mahãprabhu and used the Lord’s kìrtana style in the Keturi festival. Årìnivãsa Ãcãrya was Narottama’s kìrtana guru, and he belonged to the Manoharasahi sampradãya. Upon mastering this kìrtana style under the guidance of Årìnivãsa Ãcãrya, Narottama dãsa Óhãkura was not satisfied. What he had learned was pure, but he missed the essence, the deepness and sweetness of rãdhã-këòøa-

20� Eighth Month

lìlã. He worked hard, always practicing and meditating on the original kìrtana of Caitanya Mahãprabhu. He pushed himself to find this lost treasure. After some years, he received the sweet form of Gaîanhãói music in his heart. Following etiquette, he played it for his guru. Årìnivãsa Ãcãrya was very happy and full of appreciation for the performance. Årìnivãsa Ãcãrya confirmed that this was the real form of Caitanya Mahãprabhu’s kìrtana. Some years later, all the assembled ãcãryas confirmed the authenticity of Narottama dãsa Óhãkura’s style and awarded him the title of his own sampradãya, Gaîanhãói.

The Relation between Gaîanhãói and Manoharasahi

From the above essay, the following conclusions can be drawn:

(1) After His appearance, Årì Caitanya Mahãprabhu eliminated any concocted and garbled elements from kìrtana and established the pure, transcendental kìrtana style as it is performed in the spiritual world.

(2) This pure style became lost when the Lord ended His pastimes in this world. The question, “Why did this pure style disappear so rapidly?”—after only fifty years—is answered in Caitanya-caritãmëta. The Lord performed this prema-kìrtana with only His most intimate, eternal associates. No outsider had access to their nocturnal performances. Moreover, to play it demanded an extremely high level of expertise. Ordinary persons would need a

20� The Twelve-month Mëdaùga Courselifetime to learn it. Therefore, it never became common knowledge, and when the Lord left, practically all His personal associates followed Him. No one stayed to teach this kìrtana science.

(3) Fifty years after the Lord’s disappearance, Årìnivãsa Ãcãrya established the Manoharasahi style. This style, however, was not the original style created by Årì Caitanya Mahãprabhu. It is to be assumed that Årìnivãsa Ãcãrya preserved the basic system in the form of the Manoharasahi sampradãya, which offers an easy, yet pure, access to the highly elevated system of Gauîìya Vaiòøava kìrtana. Since he was the åikòã disciple of Jìva Gosvãmì, he most likely cultivated his style in his guru’s association and under his guidance. However, we have no scriptural evidence that he did so.

(4) Årìla Narottama dãsa Óhãkura learned this pure Manoharasahi style from Årìnivãsa Ãcãrya, who was his kìrtana guru.

(5) Since Narottama dãsa Óhãkura was not completely satisfied with what he had learned, he endeavored to reconstruct the Lord’s original kìrtana. Subsequently, he received the Gaîanhãói style by divine inspiration, or in other words, through the direct guidance of Årì Caitanya Mahãprabhu, who appeared in his heart. Thus, he is the founder-ãcãrya of the Gaîanhãói sampradãya. Those who were present at the Lord’s kìrtana confirmed that this was the same kìrtana that the Lord had performed.

(6) They declared it to be the original system, which had been introduced by the Lord. Therefore, although established later, the

20� Eighth Month

Gaîanhãói style is older and more complete than the Manoharasahi style. Both are pure, bona fide sampradãyas.

The present kìrtana societies follow Narottama dãsa Óhãkura and teach Manoharasahi first. If the student develops the taste and eagerness to learn more, he is introduced to the Gaîanhãói style.

The difference, in brief, between these sampradãyas is that the Gaîanhãói style involves much longer and more intricate mantras, and it can enter the deepness and sweetness of rãdhã-këòøa-lìlã. For example, the Ãrati Mantra in the Manoharasahi tradition, khik_ khi neda gida gida dhei ta uru tete ta, has eight mãtrã. In the Gaîanhãói tradition, it has sixteen mãtrã and must be played twice as fast. Even the elementary hãtuti are double the length of the Manoharasahi hãtuti. Some Gaîanhãói hãtuti have 156 or more mãtrã and must be played very fast.

Ninth Month


Ninth MonthHãtuti and Tehãi

In this month, you should mainly concentrate on practicing the Third Speed and learning the new tehãi, some of which are twice as long as the Ãrati Mantra. The following two hãtuti prepare you for these tehãi. Hãtuti 8 is a longer version of Hãtuti 3. See the translation for Hãtuti 3 (page xxx).

Æ HA � #dheretidhe#retidhere#tidhereti#dheredhere#daghiteretere#khetatakhiterekheta#teretite#retitere#titereti#teretere#takhiteretere#khetatakhiterekheta#daddhinteretere#khetatakhiterekheta(#daddhinderegeda/#jha)§

The next hãtuti prepares your hands for Tehãi 10.

Æ HA � #kottetegeghetete#kotakotageghetete#kottetegeghetete#kotakotageghetete#kotageghetetekota#geghetetegeghetete#geghetetegeghetete(#dhaklanta#tetekotagadeghine/#jha)§

211 Ninth Month

Translation

kot Left closedte Right 3 closedte Right 1 closedge Left open (not strong)ghe Left open (strong)ko Left closedta Right 4 opendha (like jha)klan ta (as in TEH �, page xxx)tete kota gade ghine (like tere kheta gade ghine

in TEH �, page xxx)jha (as usual)

How to practice

Æ Pay attention to the proper balance of your hands. Be careful that kota kota is played in proper sequence.

Æ Practice these two mantras for about one week. Try to come to double speed.

Both Tehãi 7 and 8 are the same length as the Ãrati Mantra. Therefore, play them like Tehãi 5 and 6, starting on Rãma Rãma.

Æ TEH � (#khetatak#gadeghine/#dheiya)§


Æ TEH � (#jhetetete#geghetete/#jhakot)§

Translation

kheta (as usual)tak Right 4 closed (strong)gade ghine dheiya (as in TEH �, page xxx)jhe Left open + Right 3 closedte Right 1 closedte Right 3 closedte Right 1 closedgeghe (as in HA � above)tete (as before)jha (as usual)kot Left closed (strong sound)

How to practice

Æ The last kot has to be played very boldly. Take care that the hand rests on the drumhead for a moment to properly deafen the sound.

Æ Practice these tehãi separately, while speaking the mantra. When they become familiar, try to play the Ãrati Mantra and these tehãi while singing the Hare Këòøa mahã-mantra. Also, practice Hãtuti 1 and HS � and �.

213 Ninth Month

The next two tehãi are both double the length of the Ãrati Mantra. Practice them separately first, while speaking the mantra. Afterwards you will learn how to play them in kìrtana.

Æ TEH � #tetetete#khetata#tinowna#khetata#dhowkheta#dharakheta#dhartadh#artadhar(#dagurugurdh#intadhin/#jha)§

Translation

tete tete (as in TEH � above)kheta (as usual)ta Right 4 openti Right 3 closednow Right 1 open (double length of ti)na Right 1 openkheta ta (as before)dhow (like jha)kheta (as usual)dha (like jha)ra Right 4 opendhar (like jha)ta Right 4 openda guru gur (as usual)dhin (like jha—strong)

21� The Twelve-month Mëdaùga Courseta Right 4 openjha (as usual)

How to practice

Æ This mantra has a special rhythm. If you divide each mãtrã into four, it appears as follows:

#dhar #ta dhar #ta #dhar

#da #guru#gur #dhin# #ta #dhin# #jha

The sequence da guru gur dhin ta dhin jha is very important. It appears in numerous tehãi. Carefully listen to the CD to grasp the rhythm. Before playing, speak the mantra while clapping the hands on each quarter mãtrã. This helps you to get a feel for the rhythm.

The next tehãi needs no translation. The first two lines you have learned in Hãtuti 9 and the last line is the same as Tehãi 5. It is a very important mantra. Later, you will learn how to play it in double speed.

Æ TEH 10 #kottete#geghetete#kotakota#geghetete#kottete#geghetete#kotakota#geghetete(#terekheta#gadeghine/#dheiya)§

21� Ninth Month

Playing Tehãi that are Double the Length of the Ãrati Mantra

This tehãi starts on Hare Rãma, after having played one half mantra 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 at maùgala-ãrati):

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

Ha re Kå- ñëa

#khik _khi #ne #da #gi #da #gi #da dhei #ta #uru #te #te #ta

Ha re Kå- ñëa Kå- ñëa Kå- ñëa

#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 tete #kheta


#gade ghine dhei #ya tere #kheta #gade ghine dhei ##ta uru #te #te #ta

Ha re Ha re Ha re...


Decoration Mantras for the Second and Third Speed

Usually, the Second and Third Speed are played one after the other. For example, you can play Hare Këòøa in Second Speed and Hare Rãma in Third Speed, or you can play Second Speed on the singer’s part (one full mahã-mantra) and the Third Speed when the audience replies. As with the Ãrati Mantra, you play tehãi at the end of each Hare Këòøa mahã-mantra, or at the end of each line of a song. How this is done will be described in detail next month.

Between the Second and Third Speed you cannot play tehãi, or you will break the rhythm. Tehãi means “end of one line.” Here, we need other mantras that are called dvãra, the Bengali word for “gate.” These mantras are the gate from Second to Third Speed. The most common dvãra are:

Æ D 1 #taketa#ketak

Æ D 2 #taktak#taktak#taketa#ketak

Æ D 3 #taktak#taktak#taktakta#ktatak

Æ D � #taketa#ketak#taktakta#ktatak

Æ D � #dhinta#kedhin#taketa#ketak

Æ D � #dhintak#_tak#_tak#_tak#taketa#ketak#taktakta#ktatak

21� Ninth Month

Translation

ta, tak Left closed + Right 4 openke Right 4 opendhin (like jha)

How to practice

Æ These mantras have a special “drive.” There are five types. In the first four, we can divide each mãtrã into four:

Æ First half of D 2 #tak #tak #tak #tak

Æ Second half of D 2 # #ta #ke #ta #ke #tak

Æ Second half of D 3 #tak #tak #tak #ta #tak

Dhin take dhin is a triplet beat. Dhin is twice as long as ta and ke. We can divide each mãtrã into three

:

Æ First half of D �: #dhin#ta #ke #dhin

For the last dvãra, we can divide each mãtrã into two:

Æ First half of D �: #dhin #tak #_ #tak #_ #tak #_ #tak

21� The Twelve-month Mëdaùga CourseYou will find it easier to get the proper sound by listening to the

CD. Still, you can benefit by understanding the mãtrã.

Speak these mantras frequently while listening to the CD, until you grasp the rhythm. Then play them separately and continuously. When you are familiar with them, read the explanation below and try to play these mantras in kìrtana, first while speaking them, and then while singing the Hare Këòøa mahã-mantra.

Entering the Third Speed from the Second Speed

Here is an example (again using the standard maùgala-ãrati melody) with the Second Speed on Hare Këòøa and the Third Speed on Hare Rãma. Between them, we play D 2. At the end we play a short tehãi and then go back to the Second Speed:

#da #ghi #te #te #ta #ke #dhe #na Ha- re Kë- òøa

# #da #ghi #te #te #ta #ke #dhe #na ##da #ghi #te #te #ta #ke #dhe #naHa- re Kë- òøa Kë- òøa Kë- òøa

#tak #tak #tak #tak #ta #keta #ke #tak #daghi #tete #take #dhena#daghi #tete #take #dhenaHa- re Ha- re Ha- re Rã- ma

#daghi #tete #take #dhena#daghi #tete #take #dhena##daghi #tete #take #dhena#daghi #tete #take #dhenaHa- re Rã- ma Rã- ma Rã- ma

#tere #kheta #jha #tere #kheta #jha #tere #kheta #da #ghi #te #te #ta #ke #dhe #naHa- re Ha- re Ha- re . . .

21� Ninth Month

The other dvãra are played as follows: Æ D 3, D �, and D � follow the above scheme (like D 2).

Æ D 1 is the same as the last half of D 2. Thus, you play the first half of the 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.

Æ Because D � is twice as long as the other mantras, you start one mantra earlier, on Këòøa Këòøa. Instead of the third da ghi tete take dhena, you play dhin tak….

Some Special Kìrtana MantrasWhen the kìrtana nears the end, when you sing, “Jaya Gaura-Nitãi,”

“Jaya Prabhupãda,” and so on, you need some special mantras. The most common ones are as follows:

Æ X 1 #dheidadhei#takhetakheta

Translation

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


How to practice

Æ Notice that the two kheta are played differently. As shown below, ta kheta has three beats in half a mãtrã, played as a triplet, whereas the second kheta has only two beats in half a mãtrã. Thus, it is slower than the first one. Listen to the CD to get the rhythm.

#dhei#dadhei#takheta#kheta

Æ X 2 #dheiyatakheta#takdhenakheta

Translation

dheiya (as in TEH �, page xxx)ta kheta (as in X 1 above)tak Right 4 closed (strong sound—this note bears the melody)dhe (like jha)na Right 4 openkheta (as usual)

221 Ninth Month

How to practice

Æ This is a triplet beat, as shown here:

#dhei# #ya#ta #khe #ta #tak # #dhe##na #khe #ta

This mantra must be played with constant rhythm to produce the right sound. Play the tak very strongly and clearly closed, with a high pitch.

Æ Practice these two mantras separately until you become familiar with them. Then try to sing while playing them. Listen to the CD to get the rhythm.

How Many Mantras A student should be humble and submissive. Nowadays, many

students come and ask, “When do I get the next mantra? When will you give me nice kìrtana mantras and fancy bhajana rhythms?” But the traditional system is that the student patiently accepts whatever the teacher offers him and practices with steady determination. He always feels unqualified and completely dependent on the guru’s mercy. He realizes that he will obtain all the knowledge required for perfection in due course of time. He knows that the teacher will never spoil him, because he is the guru’s hope for the future. His guru is affectionate to him and invests time to train him.

You should wait for your teacher to give you more. Be confident that he teaches you according to your ability. A bona fide teacher will never give you the next mantra unless you have learned the previous one. Again, patience is important.

222 The Twelve-month Mëdaùga CourseOne day, when I was a young boy, I asked my teacher, “Guru

Mahãrãja, I want to play some kìrtana mantras. It is so boring to play only hasta-sãdhana!” Immediately he said, “Go home! You cannot learn. Better learn something else.” He really sent me home, on the spot. My mother grabbed me by the ears and dragged me to my teacher. He explained, “This boy has no ability to learn mëdaùga. He is too impatient. He should learn something else. Mëdaùga is too high for him.” My mother became very angry and scolded me. “Don’t ask him again. Have faith that your guru knows best.” In this way I learned my first lesson and developed deep confidence that my teacher would act only for my welfare.

Know the Tree by Its FruitOn a morning walk, Årìla Prabhupãda saw an old yogì coming

to the Gaùgã to take his bath. The man was dressed in a ragged gray dhoti, and his matted hair hung down to his hips. He was skinny and obviously very poor. His only possession was a brass lota, but the lota was carefully polished and reflected the rising morning sun like a mirror. “Look,” said Årìla Prabhupãda, “just by seeing his lota one can conclude that he has a pure heart.”

This is called knowing the tree by its fruit. When a tree grows from its seed, one cannot determine how good it is. The root is hidden and the marrow is covered by the bark. When the tree matures, we can determine how good it is by tasting the sweetness of the fruit. In the same way, we can recognize the teacher by the quality of his students. If the teacher is good, the students will also be good. If the teacher has first-class knowledge, his students will be first class. He will reject

223 Ninth Month

useless students and train only those who are honest and sincere. Just as the fruit prove the quality of a tree, the students prove the quality of the teacher.

The guru dreams that one day his students will be great and, in front of many people, will introduce their guru, bringing him fame. People will inquire, “Where did you learn this? Who is your teacher?” In this way, the glory of the guru will increase. Knowing that his ability is judged by the ability of his students, a sincere guru will never spoil his students.

Although appearing selfish, this desire is bona fide, because it spreads the glories of the mëdaùga and the sweetness of Rãdhã-Këòøa rãsa-lìlã. A genuine guru will never introduce himself by saying, “These are my disciples. See how great they are.” Such behavior is a sign of pride. But if the disciple becomes great, his duty is to tell people the name of his guru. The disciple benefits, because he will behave properly and avoid anything that would spoil his guru’s name. By his austerity and steady meditation on the knowledge received from the teacher, he will attract Këòøa’s mercy and become successful.

A Good MëdaùgaTo produce the best sound, the mëdaùga should measure twenty-

two to twenty-three inches (fifty-seven centimeters) in length. The small head should measure four inches (ten centimeters) in diameter, and the big head eight inches (twenty centimeters). Lord Caitanya Mahãprabhu mentioned that there should be thirty-two straps, corresponding to the thirty-two syllables of the Hare Këòøa mahã-mantra, which is written on the body of the mëdaùga. The middle

22� The Twelve-month Mëdaùga Coursepart of the mëdaùga should be wide to give a good sound. The small head produces a high-pitched resounding sound and the large head produces a full, rich, deep sound.

The heads and straps are made from cowhide, which is usually a cream color. One whole hide is needed to produce a high-quality mëdaùga. It should be from a cow that has given birth to a calf and thus has given milk. Such a hide is strong. The cow should not have died too old or the hide will quickly lose its natural elasticity. (Bull or ox hides are useless for mëdaùgas.) The straps are cut in one long spiral. The big head is made from the soft hide from the cow’s belly, and the small head is made using the circular area on the cow’s forehead.

Traditional mëdaùga-bhãøîas never use the hide of a cow that has been slaughtered. Since every cow will die sometime, there will always be a natural supply of cow skins, without having to slaughter them. In Bengal, dead cows are traditionally thrown into the Gaùgã, and some people fish them out to sell the skin to the mëdaùga-bhãøîas. But today hardly anyone cares. Generally the hide is bought from the wholesale market, which is almost completely supplied by slaughterhouses. A mëdaùga made from the hide of a slaughtered cow cannot produce transcendental sound, nor will it bring pleasure to Këòøa, no matter how expertly it is played. Also, since the hide of a slaughtered cow is sold without the head, the piece for the small mëdaùga head is missing. Mëdaùgas must be bought from trustworthy devotee bhãøîas, who take the hide only from animals that have died naturally.

22� Ninth Month

Gauîìya Vaiòøavas will never use a mëdaùga made from buffalo hide. Årìla Prabhupãda mentioned that it is an offense to do so. The sound quality becomes dull after a short time, because the hide loses its natural elasticity. Buffalo hide is thicker than cowhide and fluffy on one side as if wool is attached to it. It can be difficult to tell if buffalo hide was used, and there are many buffalo-hide mëdaùgas for sale now, so you are advised to buy with the guidance of an expert.

The heads of the mëdaùga are coated with a black circular layer, called the gãba. The gãba actually gives sound to the mëdaùga; the cowhide itself does not resound since there is no vibrating mass. The gãba is made from fine iron powder hardened in a cooked-rice paste. This is a time-tested procedure. When synthetic resins are mixed with the iron powder, the black coating is not as long lasting. The original Vedic system is to use brick dust instead of iron powder. This gives a brown layer. For use in India, both are equal in quality. But in cold weather conditions the brick dust is not as long lasting as the iron dust, because it becomes brittle. It breaks away quickly and the sound goes down. For Western countries you should use only mëdaùgas with iron powder.

Since the mëdaùga is a Bengali instrument, you should buy it in Bengal. In other places, people do not know good quality, or if they do, they will charge a high price. Try to find some local devotees to help you find a good shop.

A good mëdaùga-bhãøîa is hard to find nowadays. Making a mëdaùga is an ancient trade, learned in many years of humble apprenticeship from a master. For example, no one can explain how to find the best hide for a good mëdaùga. One has to develop a

22� The Twelve-month Mëdaùga Coursenatural feeling, through years of learning and practice. Today, hardly anyone wants to learn such a difficult trade and, like all traditional handicrafts, it is gradually dying out. Årìla Prabhupãda, therefore, wanted his followers to learn to make best-quality mëdaùgas for ISKCON. We are eagerly waiting for some devotees to learn this trade. If they are patient and humble, we will gladly introduce them to the masters of this art. They can become perfect in this knowledge and render a great service to the saùkìrtana mission.

Finding a Professional MëdaùgaThere are only two ways to find a high-quality mëdaùga. You must

either know a professional manufacturer whom you trust (or someone who knows him), or you must find a professional manufacturer and supervise each step of the production. The second way can be an enlivening experience, giving insight into contemporary Bengali mentality. You will also appreciate your instrument, since you have witnessed the effort it has taken to produce it. In either case, you can expect to spend three times the standard market price to purchase a mëdaùga of professional quality. But it is a worthwhile investment.

Here are some tips if you want to supervise the manufacture of your mëdaùga:

(1) You have to find a mëdaùga-bhãøîa who is ready to cooperate with you. Try to get some tips from the local devotees. Then you must go to the various shops and explain your desire. You have to be very clear and bold in your attempt, but at the same time humble and appreciative. Explain that you want the best mëdaùga, because it

22� Ninth Month

will be used to satisfy Këòøa. If the bhãøîa does not agree to let you supervise his work, you can assume that he does not know his trade properly. Try others until you meet the right person. With some common sense you will find someone who is sincere and honest.

Try to develop a personal relationship. After all, he greatly supports your desire to play mëdaùga for Këòøa. Often, you buy more than one mëdaùga before you get the best one. If you go to the same bhãøîa year after year, supply him with mahã-prasãdam, pictures of the Deities of your home temple, and so forth. Then he will develop appreciation and sympathy for you, and finally he will give you his heart. If you treat him with arrogance and disdain, he will cheat you and you will think he is a rascal.

(2) Having found your bhãøîa, you are ready to select the cowhide. Insist on seeing the hide in its raw state. You can easily distinguish between a slaughtered cow and one that died naturally, because slaughterhouses always cut off the head before they sell the hide. Also examine the skin for stab wounds, especially around the neck. Look at the forehead, which will serve as the small mëdaùga head; it must be spotlessly clean or it is useless. You should also see if the hide is from a female animal; the part where the udder is situated will be cut away and there will be a big hole. To determine the age of the cow when it died may be difficult. The leather should be quite thick and dark or the cow was too young. If it was too old, there will be rotten parts and bald spots. Discuss with the bhãøîa and let him explain why he has selected a particular hide. If he

22� The Twelve-month Mëdaùga Courseis honest and you show the proper attitude, he will gladly explain everything.

(3) The hide has to be dried properly. Modern manufacturers dry it with fire or hot air, which destroys the natural elasticity of the skin. It has to be dried in the sun, and it has to be thoroughly stretched. It takes at least 200 pegs to stretch a complete cowhide. The hide has to dry for two weeks or more, depending on the weather conditions.

(4) During this time you can select the clay body. First, look at the quality. Pick the clay body up with your thumb and index finger at the top of the small head, and hit the side with a stick. It will resound like bell metal if it was burned properly. If the bhãøîa does not have a proper body in stock, he should order one from the factory. Take your measuring tape and check the size. After having made your choice, make sure that the clay body cannot get mixed up with the others in the shop, either by taking it home or by marking it inside.

(5) Discuss how you want the cotton braid wound around the body. If no gap is left between the turns, the body becomes particularly solid, since it is well protected. However, it looks nice if the clay body is visible between the cotton braid. The choice is yours. You can also order your favorite color pattern.

(6) When the skin is being cleansed and cut, take the part of the forehead for safekeeping, even if the bhãøîa protests. This is the most valuable part of the mëdaùga, and it can easily become lost or mixed up with other parts of the hide. Only hand it to him when

22� Ninth Month

he is ready to prepare it. You can also make a mark on the back to recognize it later.

(7) If you live in a cold or dry place, you should ask the bhãøîa to soften the big head. Then the sound will always stay low. Such a mëdaùga, however, cannot be used in wet weather conditions.

(8) Finally, observe how the gãba is applied. Like the hide, it should dry in the sun. This takes time but guarantees optimal sound and durability.

(9) Practice regularly on your new instrument to tune it. If the weather is wet, as in the rainy season in Bengal, you should expose the mëdaùga daily to the sun to dry it. After some time, the sound will go down. Two or four weeks after you have received your new mëdaùga, it is time for the final tuning. Go back to your bhãøîa and ask him to pull and tune it again. After that, you will have a perfect sound that never dwindles.

If you obtain such a mëdaùga, upon playing it, you will immediately recognize that it is different from others. It is not an ordinary drum. It is a transcendental instrument that will please both you and Këòøa with a sweet, natural sound. You will become inspired and learn much faster than with an ordinary instrument.

Is a Mëdaùga Always a Mëdaùga?The name “mëdaùga” indicates that it has to be a clay drum. Mëd

means “mud” or “clay” and aùga means “body.” Therefore, a drum made from any other substance is not a mëdaùga. Strictly speaking, it

230 The Twelve-month Mëdaùga Courseis something else, like the pakhovaja for example: a similar instrument made of wood. Yet, makers of mëdaùgas nowadays are using alternative materials that are less fragile than clay. A brass mëdaùga produces a good sound, but not as rich as that of a clay mëdaùga. Brass can be accepted if you need to have an unbreakable instrument. Sometimes a layer of clay is applied over the brass body, which increases the sound quality, but such mëdaùgas are quite expensive.

ISKCON devotees in America have created a modern copy of the mëdaùga, called the Balarama Mridanga. It has a fiberglass body, and comes in a variety of colors. As the name implies (bala means strong), it is long lasting and can endure Western weather conditions. The heads are synthetic and have screws for tuning. It is not a traditional instrument, because it does not have thirty-two straps. And the sound of this instrument cannot match that of a clay mëdaùga. However, Srila Prabhupada was very pleased that his disciples had invented this durable instrument and encouraged its use.

Nevertheless, almost any good mëdaùga player will agree that there is nothing as sweet as a real clay mëdaùga. If at all possible, try to acquire one and learn to play on it.

Tenth Month


Tenth MonthHasta-Sãdhana

Æ HS 10 #gheneneghenene#ghenenereghena #nereghenaghena#takterekheta#khenenekhenene#khenenerekhena #nerekhenakhena#takterekheta

Translation

ghene ne, ghene nere ghena,

khene ne, khene nere knena (as in HS �, page xxx)tak Right 4 closed (strong)tere kheta (as usual)

How to practice

Æ The combinations ghene ne ghene ne and khene ne khene ne are important. They appear in many different hãtuti and kìrtana mantras. You may need some time to learn this mantra. Practice carefully, consciously applying the swinging technique. Study the explanation of The Basic Beats in the chapter “Getting Prepared” (page xxx).

233 Tenth Month

HãtutiHere are three additional hãtuti for your daily practice. HA 10 is

especially beneficial for your hand technique. It requires the swinging technique, which you have just learned in HS 10.

Æ HA 10 (#ghenenereghena)§#takterekheta(#khenenerekhena)§#takterekheta#ghenenereghena#ghenenereghena #gheneneghenene#teteteghenene #teteghenetete#gheneteteghene #ghenenereghena#takterekheta#khenenerekhena#khenenerekhena #khenenekhenene#tetetekhenene #tetekhenetete#khenetetekhene #khenenerekhena#takterekheta

Translation

ghene nere ghena,

khene nere khena,

tak, tere kheta (as in HS 10 above)tete te (like tereti in HA 3, page xxx)


How to practice

Æ Now you can see the value of hasta-sãdhana HS 10. As in other mantras, you can practice the difficult parts separately. For instance, you can practice the following for one hour:

ghene ne ghene ne tete te ghene ne tete ghene tete ghene tete ghene

khene ne khene ne tete te khene ne tete khene tete khene tete khene

Then play the complete hãtuti for the second hour.

Æ HA 11 (#nintakhi#terekheta)§#khenenere#khenanow#taktere#khetakhene#nerekhena(#nindaghi#dereghena)§#ghenenere#ghenanow#dagdere#ghenaghene#nereghena

Translation

nin Right 1 upta Right 4 openkhi Left closedtere kheta (as usual)khene nere khena (as usual)now Right 4 opentak Right 4 closed (strong sound, as usual)

23� Tenth Month

nin (as above)da ghi (as usual)dere ghena (like dere gere in HA 2, page xxx)ghene nere ghena (as usual)now (as above)dag Left open + Right 4 closed (strong, like tak above)

The following mantra has a nice, rhythmic melody:

Æ HA 12 #ghenetaghe#netakhete#tagheneta#tetetate#tetakhete#tateteta#khetaghena#khetataguru#gurdaghina(#tetetata#khetatak#dhenakheta/#jha_gurugur)§

Translation

gheneta (like ghene ne in HA � )kheteta (like khene ne in HA �)teteta (like tete te in HA �)kheta (as usual)ghe Left openta Right 4 openta Right 4 open

23� The Twelve-month Mëdaùga Courseguru gur da (as usual)ghina (like ghena)te Right 3 closedte Right 1 closedta ta Right 4 open (2

times)kheta (as usual)tak Right 4 closed

(strong)dhe Left open + Right 4

openna Right 4 openkheta (as usual)jha guru gur (as usual)

How to practice

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

23� Tenth Month

Playing the Different Hãtuti TogetherYou should have already practiced each hãtuti separately for at

least one hour. If you know the mantras and you can play them nicely in double speed, you can now start to play several hãtuti together.

Æ Usually you start with Tehãi 1, followed by all the decoration mantras that you have learned.

Æ Next, play Hãtuti 1 three or four times, gradually increasing the speed. Then play the common mantra D 0 in single speed, which means that after the hãtuti you play slowly again. Then go to any other hãtuti without stopping.

Æ Play this hãtuti several times, gradually increasing the speed until you reach double speed. (If you are really good, you play once in single speed and twice in double speed.) Then return to D 0 and after that play the next hãtuti. In this way, continue for one hour without stopping.

In other words, play the following sequence:Tehãi 1D 1, D 2, D 3, D �, D �, D �Hãtuti 1 (three or four times)D 0Hãtuti (three or four times)D 0Hãtuti…


TehãiTehãi 12 is a variation of Tehãi 11. Practice them together. (This

means you play Tehãi 11, 12, 11, 12…) Because they are double the length of the Ãrati Mantra, they start on Hare Rãma, like Tehãi 10.

Æ TEH 11 #kottete#geghetete#kotageghe#netakheta#ta_#klanta#tetekota#gadeghine(#khigurugur#dada/#jha)§

Æ TEH 12 #kottete#geghetete#kotageghe#netakheta#ta_#klanta#tetekota#gadeghine#khigurugur#dada#jha_#tetetete#trikhitak#jhatrikhi#takjha#trikhitak

23� Tenth Month

Translation

kot tete geghe tete,kota geghe (as in TEH 10, page xxx)ne Right 1 openta Right 3 openkheta (as usual)ta klanta (as in TEH �, page xxx—but notice the space after ta)tete kota gade ghine (like tere kheta gade ghine in TEH �, page xxx)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

Æ 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 can also play (trikhi tak/jha)§as a separate tehãi. You play it on the last Hare Hare, like Tehãi 1.

2�0 The Twelve-month Mëdaùga CourseÆ As before, practice these tehãi separately first, then add them to

your kìrtana repertoire by singing and playing.

Special Mantras for Ending the KìrtanaAfter singing “Jaya Gaura-Nitãi” and “Jaya Prabhupãda,” the

kìrtana normally ends or comes to a break. After dheiya ta kheta tak dhena kheta, X 2, play the following mantra:

Æ X 3 #dheitatda#takhitatda#takhitatda#gidagida

Translation

dhei (like jha)tat Right 4 closedda Left hand with palm + Right 4 openta Right 4 openkhi Left closedgi Left open

da Left open + Right 4 open

How to practice

Æ Da is a new stroke. Look at the explanation in the section on technique (page xxx). Play it quite strongly, since it bears the melody.

2�1 Tenth Month

Æ Take care that you play the four left-hand strokes of gida gida with constant rhythm and strength. Listen to the CD.

Æ Practice this mantra and the next one separately. Afterwards, you will learn how to play them in kìrtana.

This mantra is for the final ending:

Æ X � #jha_#dheitadh#eitadheigurugur#dadada/*#khi

Translation

jha (as usual)dhei (like jha, but strong)ta Right 4 openguru gur (as usual)da da da (like jha 3 times, but not strong)khi Left closed

How to practice

Æ Notice that khi is soma (see page xxx). Thus, if the kìrtana stops completely, you play khi. Sometimes, however, it might start again, depending on the mood of the singer. Then you have to skip khi and play the next mantra (like dhei ta uru tete ta) immediately after da da da. Hence, one mãtrã is omitted. You will see an example below.

2�2 The Twelve-month Mëdaùga CourseÆ After jha, you should slow down gradually. This is the standard

way to end a kìrtana.

How to End the KìrtanaWhen the singer starts with “Jaya Gaura-Nitãi,” “Jaya Prabhupãda,”

and so on, you play X 1 and X 2 as you have learned before. Then play X 3. Normally, the kìrtana will end soon. Sometimes however, the leader gets the inspiration to sing “Jaya Prabhupãda” and so on, for a longer time. Then, you can play X 2, and then alternate X 1 and X 2. If the singer again sings the Hare Këòøa mahã-mantra, play the Second and Third Speed as usual.

You must know when the kìrtana leader wants to end. Arrange some signs. Then you play X 3. When the devotees sing the last line of the kìrtana, instead of playing gida gida, play X �, jha dheita dheita dhei guru gur da da da khi. This is how it looks:

2�3 Tenth Month

Ja ya

#dhei #da #dhei #ta #kheta #khe #ta #dhei #da #dhei #ta #kheta #khe #ta

Pra bhu pa da Ja ya Pra bhu pa da Ja ya

#dhei #da #dhei #ta #kheta #khe #ta #dhei da #dhei #ta #kheta na #ta

Pra bhu pa da Ja ya Pra bhu pa da Pra bhu

#dhei##ya #ta #khe#ta #tak#

##dhena #khe#ta dhei# #ya #ta #khe#ta #tak #dhe na #khe#ta

pa da Pra bhu pa da Pra bhu

#dhei##ya #ta #khe#ta #tak #dhena #khe#ta dhei# #ya #ta #khe#ta #tak #dhe na #khe#ta

pa da Ja ya Ja ya Pra bhu pa da Ja ya Ja ya Pra bhu

#dhei #tat #da #ta #khi #tat #da #ta #khi #tat #da #gi #da #gi #da


#dhei #tat #da #ta #khi #tat #da #ta #khi #tat #da #gi #da #gi #da

pa da Ja ya Ja ya Pra bhu pa da 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

pa da Ja ya Ja ya Pra bhu pa da

2�� The Twelve-month Mëdaùga CourseAs I said before, during the last line you should gradually slow

down, because you are coming to the end.

If, however, the kìrtana continues after the last “Prabhupãda” (for example, if the kìrtana leader sings the Hare Këòøa mahã-mantra slowly), play t he Ãrati Mantra. In this case, the last khi is skipped because it is soma, and instead you play dhei, the first note of the Ãrati Mantra. Consequently, the mantra starts one mãtrã earlier—instead of the last “da” of “Prabhupãda” the singer has to start with “Hare Këòøa.” Otherwise, there would be one mãtrã space and the rhythm would be lost. Look at the following scheme:

Pra- bhu-

#dhei # #tat #da #ta #khi #tat #da #ta #khi #tat #da #jha # ##

pã- da Pra- bhu pã- da Pra- bhu-

#dhei # #ta #dhei # #ta #dhei # #guru gur #da #da #da

pã- da Ja- ya Ja- ya Pra- bhu pã- da.

#dhei # #ta #uru #te #te #ta # #khik #_khi #ne #da #gi #da #gi #da

Ha- re Kë- òøa Ha- re Kë- òøa

The same happens if you continue with the Third Speed, as will be shown later in the tulasì-pújã.

2�� Tenth Month

The Fourth SpeedThis mantra makes the kìrtana 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, and then see how it is applied.

Æ K � #dhenagighi#tatdheita#thenagighi#tatdheita

Translation

dhe Left open + Right 3 closedna Right 1 opengighi (like geghe in TEH 10, page xxx)tat Right 3 closeddhei Left open + Right 1 openta Right 1 openthe Left closed + Right 3 closed

(The rest as before)

How to practice

Æ Look at the rhythm. As you see, this mantra is twice as long as the Third Speed. Dhei is twice as long as tat and 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 “1 open.” Thus, the mantra is syncopated


(strong beats become weak and vice versa) and obtains its special swinging character.

Æ Also notice that ghi is stronger than gi, but that the first note (dhe) is the strongest in the mantra; it bears the melody. You have to play exactly and boldly to get the proper rhythm.

Playing the Different Speeds TogetherThere are many varieties of ways 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 must follow to provide the proper flow of the melody.

(1) The Basic PrincipleÆ When you accompany a song like Gaura-ãrati, the system is

as follows: When the singer sings the first line (kibã jaya jaya gora-cãnder ãratiko åobhã) you play First Speed, and when the audience responds you play First Speed with tehãi. You can use tehãi that have half, once, or twice the length of the Ãrati Mantra. If the first line is repeated, you play in the same way, but you should use a different tehãi.

When the singer sings the second line (jãhnavì-taóa-vane jaga-mana-lobhã) you play Second Speed. On the audience’s response, you play 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.

2�� Tenth Month

When the song gets more fired up, you can play 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 play Third Speed when the singer starts with the second line. Thus, you have the following possible combinations:

How to use tehãi and dvãra (decoration) with Second, Third, and Fourth Speed is explained further below.

Æ When you accompany the Hare Këòøa mahã-mantra, you play First Speed continuously as long as the kìrtana is soft and slow. Apply all the tehãi you have learned, 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,

First Line – Singer: 1st Speed

– Audience 1st Speed with Tehãi

– Singer: 1st Speed

– Audience 1st Speed with Tehãi

Second Line – Singer: 2nd Sp 2nd Sp 2nd Sp 2nd Sp 3rd Sp

– Audience 3rd Sp 3rd Sp 3rd Sp 3rd Sp 4th Sp

– Singer: 2nd Sp 3rd Sp 3rd Sp 3rd Sp 3rd S

– Audience 3rd Sp 3rd Sp 4th Sp 4th Sp 4th Sp

2�� The Twelve-month Mëdaùga Courseand Fourth Speed, as explained below, until the kìrtana comes to a break. Only then can you go back to the First Speed.

Æ The tehãi are divided into four groups according to their length. The length of tehãi and the mantras they can be used with are as follows:

The last kind of tehãi has not been introduced yet. It covers the whole Hare Këòøa mahã-mantra.

Æ Half as long as the Ãrati Mantra (start on the last Hare Hare). Use with the 1st, 2nd, 3rd, and 4th Speed.

Æ Same length as the Ãrati Mantra (start on Rãma Rãma). Use with the 1st, 2nd, and 3rd Speed.

Æ Twice as long as the Ãrati Mantra (start on the first Hare Rãma).Use with the 1st and 2nd Speed.

Æ Four times as long as the Ãrati Mantra (start on the first Hare Këòøa).Use with the 1st Speed only.

(2) Entering a Higher SpeedÆ Play the First Speed (the Ãrati Mantra) with tehãi for one complete

Hare Këòøa mahã-mantra, and then go to the Second Speed. You can, however, enter the Third Speed from the Second Speed, or the Fourth Speed from the Third Speed, either at the beginning of the mahã-mantra (on Hare Këòøa) or in the middle (on Hare Rãma).

Æ After the Second Speed, you play dvãra, and then play the Third Speed, as shown in the last section.

2�� Tenth Month

Æ In some cases you jump from the First Speed to the Third Speed. To do this, play the First Speed and end one mahã-mantra with tehãi. Begin the next mahã-mantra with dvãra and then play the Third Speed. For example:

(on Hare Rãma) dhei ta uru tete ta khik khi neda gida gida

(on Rãma Rãma) dhei ta uru tete ta(on Hare Hare) tere kheta jha tere kheta jha tere kheta (on Hare Këòøa) tak tak tak tak take take tak

daghi tete take dhena daghi tete take dhena~

Dvãra is the “gate” to the Third Speed. You must play dvãra before changing to the Third Speed.

Another example of jumping from the First Speed to the Third Speed is during tulasì-pújã, as will be shown next month.

Æ You cannot jump from the Second Speed to the Fourth Speed. Rather, you have to go through the Third Speed.

Æ Between the Third and the Fourth Speed you play neither tehãi nor dvãra. Rather, you shift from the Third Speed to the Fourth Speed without a pause:

(on Hare Rãma) daghi tete take dhena daghi tete take dhena daghi tete take dhena daghi tete take dhena

(on Rãma Rãma) daghi tete take dhena daghi tete take dhena (on Hare Hare) daghi tete take dhena daghi tete take dhena(on Hare Këòøa) dhena gighi tat dhei ta thena gighi tat dhei ta~


(3) Playing One Speed ContinuouslyÆ As long as you stay in the First Speed (the Ãrati Mantra), play

tehãi at the end of each mahã-mantra. The same applies to the Second Speed, except that you cannot use long tehãi starting on Hare Këòøa, because they can only be played with the First Speed, as shown in the list at the end of point (1).

Æ If you stay in the Third Speed continuously, play dvãra at the end of the mahã-mantra and again play the Third Speed. For example:


(on Rãma Rãma) daghi tete take dhena daghi tete take dhena (on Hare Hare) tak tak tak tak take take tak(on Hare Këòøa) daghi tete take dhena daghi tete take dhena~

If the kìrtana gets very dynamic, you can play both tehãi (at the end of one mahã-mantra) and dvãra immediately afterwards (starting with the next mahã-mantra). As explained before, you can use the first two kinds of tehãi (starting on Rãma Rãma or on Hare Hare). For example:


(on Rãma Rãma) tere kheta gade ghine dheiya tere kheta(on Hare Hare) gade ghine dheiya tere kheta gade ghine (on Hare Këòøa) tak tak tak tak take take tak


2�1 Tenth Month

Æ Normally, you don’t play the Fourth Speed longer than one mahã-mantra—it is too intense. The standard is that you play Third Speed on the singer’s part and Fourth Speed when the audience responds. Then you return to a lower speed. Only if the kìrtana is fired up and continues for a long time on the level of Third and Fourth Speed can you play Fourth Speed for more than one mahã-mantra. In this case, do not play dvãra or tehãi; just continue with the Fourth Speed. As soon as you play tehãi after the Fourth Speed, you have to go back to a lower speed. This is a hard rule: to slow down after playing quickly.

Consequently, you cannot play Fourth Speed continuously when singing a song, as in the example given of Gaura-ãrati. You can play Fourth Speed only on the audience’s part, because you have to end each line of the song with tehãi.

(�) Going Back to a Lower SpeedÆ You can go back to a lower speed only at the end of the Hare Këòøa

mahã-mantra, not in the middle. Also, you should never 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 to a lower speed after the audience’s part. For songs, you can go to a lower speed only at the end of a line, and you can go to the First Speed only at the beginning of a new stanza, as shown under (1).

Æ From the Third Speed you go back as shown in point (3) by playing tehãi. As I said before, you can play tehãi starting on Rãma Rãma or on Hare Hare.

2�2 The Twelve-month Mëdaùga CourseÆ After the Fourth Speed, you have to play a short tehãi, starting on

Hare Hare. If you accompany the mahã-mantra, you can return either to the Second Speed (this is the standard way), or if the kìrtana is fired up, go to the Third Speed. To properly enter the Third Speed, you have to play a dvãra immediately after the tehãi. For example:

(on Hare Rãma) dhene gighi tat dhei ta thene gighi tat dhei ta dhene gighi tat dhei ta thene gighi tat dhei ta

(on Rãma Rãma) dhene gighi tat dhei ta thene gighi tat dhei ta(on Hare Hare) tere kheta jha tere kheta jha tere kheta(on Hare Këòøa) tak tak tak tak take take tak


(�) SummaryThe following pattern summarizes the different possibilities while

accompanying the Hare Këòøa mahã-mantra:

2�3 Tenth Month

1st Speed = Tehãi 1st Speed…1st Speed = Tehãi 2nd Sp = Tehãi 2nd Sp…1st Speed = Tehãi 2nd Sp = Dvãra 3rd Sp = Tehãi 2nd Sp…1st Speed = Tehãi 2nd Sp = Dvãra 3rd Sp = Dvãra 3rd Sp…1st Speed = Tehãi 2nd Sp = Dvãra 3rd Sp = Tehãi = Dvãra 3rd Sp…1st Speed = Tehãi 2nd Sp = Dvãra 3rd Sp = 4th Sp = Tehãi 2nd Sp…1st Speed = Tehãi 2nd Sp = Dvãra 3rd Sp = 4th Sp = Tehãi = Dvãra 3rd Sp…1st Speed = Tehãi = Dvãra 3rd Sp…

2nd Sp = Tehãi 2nd Sp…2nd Sp = Dvãra 3rd Sp = Tehãi 2nd Sp…2nd Sp = Dvãra 3rd Sp = Dvãra 3rd Sp…2nd Sp = Dvãra 3rd Sp = Tehãi = Dvãra 3rd Sp…2nd Sp = Dvãra 3rd Sp = 4th Sp = Tehãi 2nd Sp…2nd Sp = Dvãra 3rd Sp = 4th Sp = Tehãi = Dvãra 3rd Sp…

3rd Sp = Dvãra 3rd Sp…3rd Sp = Tehãi = Dvãra 3rd Sp…3rd Sp = 4th Sp = Tehãi 2nd Sp…3rd Sp = 4th Sp = Tehãi = Dvãra 3rd Sp…3rd Sp = 4th Sp = 4th Sp = Tehãi 2nd Sp…3rd Sp = 4th Sp = 4th Sp = Tehãi = Dvãra 3rd Sp…

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 a dynamic, diversified manner. If you accompany a song, follow the scheme set up under (1). When you accompany the mahã-mantra, play the Ãrati Mantra with the different short and long tehãi that you have learned so far. Then enter the Second Speed and play according to the above scheme. If the kìrtana comes to a break or

2�� The Twelve-month Mëdaùga Courseto the end, play the special mantras. If the singer starts again, go back to the Ãrati Mantra and so on. You can continue for hours without getting bored, because you will find new combinations and variations. Please study the section about playing in kìrtana (page xxx) to get a good understanding of communicating with the singer.

The Winds of PrideEvery day there was a kite flying in the stormy autumn sky. It

was huge, beautifully painted, and decorated with a long, golden tail, which had many colorful paper strips billowing in the wind. It looked like a roaring sky dragon. For hours, the kite would dance in the wind and many people would admire it. “Look how beautiful it is! It is the perfection of all fine arts, the zenith of all acrobatics, and the crest jewel of all heavenly dancers.” As the glories of the kite spread, more and more people came to watch it. Gradually it became proud and thought, “Is there any kite more gorgeous than I? See my amazing qualities that are admired by the whole world!” Deluded by its increasing pride, the kite became more and more reckless and daringly fought against the strong autumn winds.

One day, as it dived into a grand loop with a combined backward spiral, it nearly surpassed the laws of physics—but the cord that held it in the sky snapped. Helplessly it spun to the ground and crashed into a muddy ditch, and no one ever looked at it again. Of course, it was not the kite but the boy holding the line who had become proud.

The same happens if a teacher is falsely proud of his students and exploits them for the sake of his fame. A guru may easily become proud of his position. “See, I have so many students, I am a great

2�� Tenth Month

teacher. Everyone admires me.” This kind of teacher gradually loses his knowledge and is like poison to his students. He gives them mantra after mantra and pushes them to learn faster and faster, but he doesn’t give them a solid foundation. One day, the rope of mutual trust and service breaks, and the student falls down, spoiled because the guru is ill motivated. The guru aspires for his own glorification rather than the benefit of his student. He is proud of his knowledge and wants to boast by producing famous disciples. If they don’t fulfill his expectations, he rejects them. The same principle applies in spiritual life. So much suffering comes if the guru is proud of his position. The teacher should always think that he has acquired his knowledge by the mercy of guru and Këòøa. “I learned so many things by the grace of my guru. Let me help others to come to the same platform.” Thinking in this way, a teacher becomes empowered by Këòøa to train first-class students.

Getting the MercyGuru-këpã, the mercy of the teacher, is required in order to learn.

This principle applies in all fields of Vedic knowledge. The words of Årìla Viåvanãtha Cakravartì Óhãkura, yasya prasãdãd bhagavat-prasãdo, yasyãprasãdãn na gatiæ kuto ‘pi, also apply to a bona fide music teacher. When the teacher sees a student is sincere, patient, and obedient, love for the student will arise in the teacher’s heart, and the teacher will treat him very affectionately. The teacher feels responsible for such a student, and in due course of time he will reveal all his secrets to him. If the student is not enthusiastic to learn, the teacher will respond accordingly. Similarly, in the Bhagavad-gìtã

2�� The Twelve-month Mëdaùga Course(4.11) Këòøa says: ye yathã mãõ prapadyante, tãõs tathaiva bhajãmy aham. The teacher will reciprocate according to the surrender of the student. If the teacher and student feel mutual responsibility and build a sincere relationship, then the training of the student will be serious and deep. The guru will give his heart and invest his energy to bring a sincere and honest student to the highest platform.

Dakòiøã is also part of the relationship. When a student learns from a guru, he should show his gratitude by offering something in return for the knowledge he has received, even if the guru, out of humility, does not request it. If a student learns Gauîìya Vaiòøava music from an authorized teacher, he takes åikòã from him. He should offer his teacher dakòiøã, as he does to his dikòã-guru and åikòã-gurus. This dakòiøã should be according to the student’s capacity. A poor village boy may offer a new dhoti or a gaõåa, and a wealthy person may offer a substantial financial donation.

The student is foolish, however, if he thinks, “I pay my guru so much and therefore I buy his knowledge.” The guru’s mercy cannot be bought; it is earned by sincerity and humble surrender. Therefore, the student should offer dakòiøã in the proper mood, thinking, “No matter how much I give, I can never pay back what he gave me.” Then the guru will be very pleased and will bestow his full mercy upon the student, seeing that he has understood the Vedic system.

Don’t Let the Mercy Fly AwayA devotee should learn to build his life on Këòøa’s mercy, but it is

important to understand how to get Këòøa’s mercy. This also applies to the field of musical skills. Some devotees say, “You don’t have to

2�� Tenth Month

practice so much. You don’t need a teacher. Këòøa will teach you everything. Just sit down in the temple room, take your mëdaùga (or harmonium or karatãlas), and start to play. Këòøa will bestow His mercy on you. He will inspire you to find the right melody. Look at me. That’s how I learned.”

He may play some fancy mantras, be enthusiastic, and know the art of inspiring others. That is nice; Këòøa appreciates us inducing others to take part in saùkìrtana, but training is required to produce good-quality kìrtana. Thinking yourself beyond the need for training means you miss the essence—Këòøa’s mercy.

It is a sign of pride if you think you can obtain Këòøa’s mercy directly from Him rather than through the guru. Paramparã is a fundamental principle of spiritual life: yasya prasãdãd bhagavat-prasãdo, yasyãprasãdãn na gatiæ kuto ‘pi. There is a standard way of teaching and learning Vedic arts through the paramparã. Nowadays no one knows that there is a music paramparã, and they think they do not need to learn from a qualified teacher. With Këòøa’s mercy you can become empowered to master the mëdaùga, but only through the bona fide guru who teaches the traditional system. Be humble and inquisitive. Always feel helpless and completely dependent on your teacher. Then you are in a safe position, and you will recognize when Këòøa offers you His mercy. You have to take the mercy for your own benefit and for the pleasure of Rãdhã and Këòøa.

There is a nice story that illustrates this point. In a small Bengali village lived an old brãhmaøa. Throughout his life he had learned to make himself completely dependent on Këòøa’s mercy. He had many dramatic and blissful realizations, which had increased his

2�� The Twelve-month Mëdaùga Coursedependency. He had developed firm faith that Këòøa would always protect and maintain him. In this regard, his consciousness was very elevated and he was a pure and surrendered devotee, without selfish motives. Këòøa loved him for his attitude. But the brãhmaøa had one fault: he had no guru to teach him, and thus his knowledge was meager and his power of discrimination was not good.

One day, as the monsoon rains reached their climax, the dam of the Gaùgã broke, and a devastating flood rushed towards the village. Upon hearing the news, all the inhabitants hastily grabbed their bare necessities and rushed toward a nearby hill to find a safe place. Only the brãhmaøa sat motionless in front of his house and peacefully chanted the holy name. “Hurry up, bãbã,” said the people, “The flood is coming. You will soon drown!”

“Këòøa has protected me all my life. He will also protect me now,” the old man replied, and he remained where he was.

Gradually, the first waves of the flood reached the village, and the streets were under water. Peacefully chanting, the brãhmaøa went into the house and sat on his bed. “O Këòøa, You will surely protect me as You always did. You are my only shelter.”

Meanwhile, the water rose to waist height. It was still possible to walk through the streets and reach the nearby hill. Everyone had left the village except for the innocent brãhmaøa. Këòøa became concerned and thought, “I have to do something. He is fully dependent on Me. If I don’t protect him, he will be lost.” It so happened that the radio in the room was switched on. Këòøa got an idea. He faded the music, and in an official-sounding voice He announced, “Attention! The dam has broken. Everybody immediately leave the village, which will

2�� Tenth Month

be completely flooded before long. Leave immediately or there won’t be any chance to escape!” Këòøa repeated the message twice, but the brãhmaøa thought that Këòøa would protect him, and he decided not to leave.

Then, the water rose much higher, making it impossible to walk through the streets, and some of the houses were completely under water. While the radio submerged into the muddy water, the brãhmaøa calmly went upstairs, chanting:

këòøa këòøa këòøa këòøa këòøa këòøa këòøa he këòøa këòøa këòøa këòøa këòøa këòøa këòøa he

këòøa këòøa këòøa këòøa këòøa këòøa rakòa mãm këòøa këòøa këòøa këòøa këòøa këòøa pãhi mãm

(Rakòa mãm means protect me, and pãhi mãm, maintain me.)

Këòøa thought, “Oh, he has so much faith. But why does he not follow My advice? Now I have to save him. Soon, the house will be under water and he will be lost.” Këòøa appeared, disguised as a young boy, in a small boat. He rowed towards the balcony of the house and shouted, “Hey bãbã! It’s time to leave! Soon you’ll have no place to stand. Come into my boat; I’ll take you to dry land.”

But the foolish brãhmaøa replied, “My dear boy, I have only one shelter in my life. That is Këòøa. Please go away; Këòøa will protect me.”

Këòøa, in the disguise of the boy, argued with the brãhmaøa, but nothing could induce him to leave the house. As He left, Këòøa thought, “Now I have tried twice to rescue My bhakta, but he does not take My help. How can I save him? Yet, how can I leave him to his fate? He trusts Me so much.”

2�0 The Twelve-month Mëdaùga CourseFinally, the rising flood buried the house under its foaming waves.

The brãhmaøa stood on the highest point of the roof. The water reached to the top of his chest. In a loud voice he started to pray. “O Këòøa, please protect me. There is no higher place to stand. If more water comes, where should I go?”

“Okay, last chance,” Këòøa thought. “If you recognize Me now, I can save you. Otherwise you’ll be lost.” This time, Këòøa came by helicopter. He released a rope and hovered above the brãhmaøa’s head. “Hey bãbã! Catch hold of the rope. I’ll pull you on board and rescue you. This is your last chance. The water is rising, and you will drown if you don’t come now!”

The water was rising fast, but still the brãhmaøa did not recognize that Këòøa had come to help him. He called out, “My only shelter in this life is Këòøa. I don’t need you. Go away!”

Këòøa leaned out of the helicopter and exposed His beautiful form of Åyãmasundara to the brãhmaøa. “You foolish bhakta, do you recognize Me now? Three times you called Me to save you, and three times I came, but you ignored Me. What can I do if you don’t take My help?”

“Now I recognize You, my dear Lord!” the brãhmaøa cried out, and he was pulled underwater by the strong currents. The brãhmaøa found an auspicious end in the raging waves of Mother Gaùgã.

We must also learn how Këòøa’s mercy comes and then take it. For a mëdaùga student, Këòøa’s mercy comes through constant practice under guidance of the teacher. If you follow this system, you will soon realize how valuable it is and feel truly blissful.

Eleventh Month


Eleventh Month Hãtuti

The following mantra trains you to change between single and double speed, and you learn the important sequence tere tere kheta takhi tere kheta.

HA 13 #dhadhene#nakedhene#dhenenake#dhenedhene#daddhinteretere#khetatakhiterekheta#terekhetateretere#khetatakhiterekheta

Translation

dha (like jha)dhe Left open + Right 1 closedne Right 3 closedna Right 1 upke Left open (not strong)dad dhin tere tere~ (as usual)

The next hãtuti helps you to improve your feel for rhythm, because it is syncopated (strong beats become weak and vice versa). It is also very beneficial for concentration.

2�3 Eleventh Month

Æ HA 1� #kotta#ghenere#kotak#ghenere#kotte#tetete#kotak#ghenere#grighite#tetete#kotak#ghenere#kotathu#nthun#trithun#na#khikhite#tekhikhi#tetekhi#khitete(#khigurugur#daghine/#jha)§

Translation

kot Left closedta Right 4 open

ghe Left openne Right 3 openre Right 1 open

ko Left closed tak Right 4 closed (strong)

kot (as before)te Right 3 closedte Right 1 closedtete (same again)


gri Left open + (Right like tri in TEH 12, page xxx)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 closedguru gur (as usual)da ghi (as usual)ne Right 4 openjha (as usual)

2�� Eleventh Month

How to practice

Æ Look at the rhythm. It is a triplet beat, and the following notes have double length, as their names indicate: kot (not ko), tak, and thun. You should be able to work out the beat yourself. Listen to the CD, and speak the mantra without playing to learn the rhythm. You have to concentrate fully to play without mistakes.

TehãiHere are three long tehãi, which start on Hare Rãma. Tehãi 13

is extremely important for harinãma-saùkìrtana. It is very powerful and is also useful for training your hands. Tehãi 14 is a variation of Tehãi 13, so you can learn them together.

Æ TEH 13 #dheretete#dheretete#daghitete#dheretakhi#terekheta#gadeghine#takitijha#utijha(#terekheta#gadeghine/#dheiya)§

Æ TEH 1� #dheretete#daghitete#dheretakhi#terekheta#gadeghine#takitijha#utijha#terekheta(#terekheta#gadeghine/#dheiya)§


Translation

dhere tete (like in HA �, page xxx)da (like jha)ghi Left open (stronger than da)tete dhere (as above)ta Right 4 openkhi Left closedtere kheta gade ghine (as usual)ta Right 4 openkhi Left closedti Right 4 openjha Left open + Right 3 closedu Right 1 closedti Right 3 closedjha (as usual)tere kheta gade ghine~ (as usual)

How to practice

Æ Play like a machine, with very strict, precise rhythm, and take care that 1 finger closed and 3 fingers closed are clearly closed, with a high pitch. Then the mantra will sound right.

Æ Practice these mantras intensely (like hasta-sãdhana or hãtuti) for one hour continuously. In the next chapter you will learn how to play them in double speed to enliven everyone in the kìrtana. Try to come to that speed without losing your clear stroke.


Æ TEH 1� (#dada#gadeghine#dada#gadeghine/#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

Æ The beats tre and khet are played very closely together, but they are still two separate strokes. Notice the space before, which indicates that trekhet takes only one half of a mãtrã (like gade); it has to be played fast. Also take care that you play khet very strong and flat, keeping the hand on the drumhead.

Æ This mantra is a double-speed mantra and starts on Rãma Rãma. As with the previous two mantras, try to come to double speed.


Another Special MantraThis mantra is played in Gaura-ãrati when the melody is

interrupted to sing jaga-jana-mano-lobhã or åaùkha bãje ghaøóã bãje. Listen to the CD to hear how to accompany the singer with this mantra.

Æ X � #dheitathei#taktathei#taktathei#takdadada

Translation

dhei Left open + Right 4 openta Right 4 openthei Left closed + Right 4 opentak Right 4 closed

(strong)da da da (like jha—3 times)

How to practice

Æ Notice the rhythm: both dhei and tak are as long as ta thei and the triplet da da da is the same length, so you have to play it faster.

Æ As long as the singer sings jaga-jana-mano-lobhã, you play this mantra. As soon as he continues with gaurãùger ãratiko åobhã, you play dheiya ta kheta tak dhena kheta and so on. When he returns to the normal melody, continue with the Ãrati Mantra.


Playing Tehãi in Double SpeedWe have compared the kìrtana mantras to rice and the different

tehãi to the various sabjì preparations that make the kìrtana tasty. However, the spice is added when you can play tehãi in double speed. That makes the kìrtana enlivening. The system of playing a mantra once in single speed and then twice in double speed is a standard practice in playing mëdaùga. When you can play at double speed, you have reached the advanced level, but this takes time. You may not be at that level yet, but at least you should be familiar with the system. The goal is clear, and you can see that you must continue practicing to come to the advanced level. In the next chapter you will practice a tehãi that is played in double speed only.

Now you will learn how to play a tehãi, first in single and then in double speed. Practice this method with Tehãi 10 and Tehãi 13, since they are the most important. The system is as follows: When the singer sings Hare Rãma, you play tehãi in single speed. When the audience sings Hare Rãma, you play the same tehãi twice in double speed. Twice in double speed equals once in single speed. Thus, you will finish playing the tehãi at the end of the mahã-mantra.

First play kot tete geghe tete~ in single speed when the singer sings Hare Rãma. Then play the following while the audience sings:


#dhei #ta #uru #te #te #taHa re Kå ñëa

#khik _khi #ne #da #gi #da #gi #daHa re Kå ñëa

dhei #ta #uru #te #te #taKå ñëa Kå ñëa

#khik _khi #ne #da #gi #da #gi #daHa re Ha re

# #kottete geghetete #kotakota geghetete ##kottete geghetete #kotakota gegheteteHa re Ra ma

# #terekheta #gadeghine #dheiya ##terekheta #gadeghine #dheiya ##terekheta #gadeghine

Ha re Ra ma

# #kottete geghetete #kotakota geghetete ##kottete geghetete #kotakota gegheteteRa ma Ra ma

# #terekheta #gadeghine #dheiya ##terekheta #gadeghine #dheiya ##terekheta #gadeghineHa re Ha re

#dhei #ta #uru #te #te #taHa re Kå ñëa ...

Play dhere tete dhere tete daghi tete~ in single speed, then play the following:



#khik _khi #ne #da #gi #da #gi #daHa re Kå ñëa

dhei #ta #uru #te #te #taKå ñëa Kå ñëa

#khik _khi #ne #da #gi #da #gi #daHa re Ha re

#dheretete #dheretete #daghitete dheredaghi terekheta #gadeghine #takitijha #utijhaHa re Ra ma

# #terekheta #gadeghine #dheiya ##terekheta #gadeghine #dheiya ##terekheta #gadeghine

Ha re Ra ma

#dheretete #dheretete #daghitete dheredaghi terekheta #gadeghine #takitijha #utijhaRa ma Ra ma

# #terekheta #gadeghine #dheiya ##terekheta #gadeghine #dheiya ##terekheta #gadeghineHa re Ha re

#dhei #ta #uru #te #te #taHa re Kå ñëa ...


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

#kheta #kheta #jha #kheta #kheta #jha #kheta #kheta

#khetakheta #jhakheta #khetajha #khetakheta #khetakheta #jhakheta #khetajha #khetakheta

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

#dhei #ta #uru #te #te #taHa re R;a ma

#khik #_khi #ne #da #gi #da #gi #daHa re Rä ma

#dhei #ta #uru #te #te #taRä ma Rä ma

#khetakheta #jhakheta #khetajha #khetakheta #khetakheta #jhakheta #khetajha #khetakhetaHa re Ha re



Or with any other tehãi:

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

#terekheta #jhatere #khetajha #terekheta #terekheta #jhatere #khetajha #terekheta

The following one is more demanding:

#kheta #gurugur #jha #kheta #gurugur #jha #kheta #gurugur

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

The same system can be used with longer tehãi:

#da #da #gade #ghine #jha #gurugur #da #da

#gade #ghine #jha #gurugur #da #da #gade #ghine

#da#da #gade#ghine ##jhagurugur #da#da #gade#ghine ##jhagurugur #da#da #gade#ghine

#da#da #gadeghine ##jhagurugur #da#da #gadeghine ##jhagurugur #da#da gade#ghine

Gradually increase this practice by playing the first line twice, four times, or eight times, and then the second line the same number of times. Start very slowly and progressively increase the speed, as you do with hasta-sãdhana.

Once your hands are ready to play double speed, you can apply the same method to your daily practice of hasta-sãdhana and hãtuti. Play any mantra continuously, once in single speed and twice in double speed. Or play twice in single speed and four times in double speed,


and so forth. This is good training to obtain a feel for the change of speed. You will greatly benefit from such practice in kìrtana—and your sãdhana becomes more variegated. However, your hands must be ready. If they aren’t ready, continue as before, by gradually increasing the speed during your one-hour practice time.

Avoid OffensesTo follow Vedic culture we must be humble and respectful. Årì

Caitanya Mahãprabhu taught (Årì Åikòãòóaka 3): tëøãd api sunìcena taror api sahiòøunã, amãninã mãnadena kìrtanìyaæ sadã hariæ. “Be humble like the straw in the street, patient and tolerant like the trees, always respect others, never strive for personal honor, and constantly chant the Hare Këòøa mahã-mantra.” If you commit offenses to devotees, you will lose your knowledge, including your knowledge of playing mëdaùga. You will not be able to learn. Musicians have an inborn tendency to envy others and disrespect them. Then, offences are easily committed, even unwillingly. Këòøa explains (Bg 4.17): gahanã karmaøo gatiæ, the intricacies of acting in the material world are very hard to understand. Offenses are easily committed, even if you are a very sober person and are trying to act for the welfare of everyone.

The life of Daåaratha Mahãrãja, the father of Årì Rãmacandra, serves as a dramatic example. During his reign, there lived a brãhmaøa named Andha Muni. Both he and his wife were blind and too old to walk. Their son, Sindhu Muni, was filled with mãtrì-bhakti and pitri-bhakti: he had so much love and devotion for his mother and father that he surrendered his life to their service. His parents


longed to visit the holy places, in spite of their inability to walk the thousands of miles. Sindhu Muni went to the jungle and cut a strong bamboo tree. Then he plaited grass and made two strong baskets, and after attaching them to either end of the bamboo rod, he said to his parents, “Please, sit in these baskets, and I’ll carry you to all the holy places in India.”

Sindhu Muni took his parents to many holy places and carefully attended to their desires and bodily needs. Out of love, he acted like their menial servant and pleased them so much.

Finally, they arrived at Ayodhya, the kingdom of Mahãrãja Daåaratha. In a small forest they lay down to rest. All day they had been outside, under the scorching midsummer sun, and now the old parents were longing for water. The father said, “O dear son, we are so thirsty. Please bring some water!” Sindhu Muni took up his clay pot and went to find a well. After looking for some time, he came to a pond situated near a stone wall that encircled a beautiful and luxurious palace. Happily he sat down to fill the clay pot with the pure, crystal-clear water of the pond.

On the other side of the wall was the palace of Mahãrãja Daåaratha. The king was sitting on his bed, relaxing from a strenuous yet unsuccessful hunt. Slightly discontented with the day, he looked out of the palace window at the beautiful scenery, as the sun was setting. As he was thus enjoying the cool evening breeze, he suddenly heard Sindhu Muni’s clay pot splashing in the pond behind the boundary walls. Immediately, the king imagined a deer or wild boar drinking from the pond. “Finally,” he thought, “this hunting day won’t be fruitless.” Silently he took up his bow and aimed carefully.


Mahãrãja Daåaratha had åabda-vedi-jñãna, the ability of knowing by sound. He could locate any target just by the sound it produced, and then he would unerringly launch his arrows. He deeply concentrated and mentally followed the splashing sound until he reached its source behind the wall, beyond his external vision. He released his arrow. The weapon flew along the course marked by the sound and hit Sindhu Muni right through the chest. The sage fell down, killed on the spot, unable to utter any sound.

When King Daåaratha rushed to the pond to pick up his prey, he realized that he had killed a great sage. Though dead, the body of Sindhu Muni emanated the saintly luster of a pure, surrendered soul. Deeply aggrieved, the king dropped to the ground, clinging to the feet of the dead muni and lamenting his ill fate. How could he ever rectify his sinful deed?

Meanwhile, Andha Muni and his wife became more and more thirsty and worried about the long absence of their son. With all their remaining strength they cried out, “Son, O dear son, where are you? We die with thirst! Please bring water.” Upon hearing their feeble voices, the king knew that the person they were crying for was lying dead before him. The sad task of informing them of their son’s tragic fate was awaiting him. Slowly he stood up, took the pot filled with water, and, following the sound of their voices, approached the two helpless persons. Understanding that they were both blind, he silently stood beside them and handed the clay pot to Andha Muni, who seized it with trembling fingers and drank half the water. After handing the pot to his wife, he asked, “My dear son, why don’t you speak? Is anything wrong?” Then, with the mysterious inner vision of the lifelong blind, he understood that a stranger was standing before


him. Quickly, before the king could react, he grasped Daåaratha’s strong hand. “You are not my son! Who are you? What happened to my son?”

When the king saw the condition of the parents, he became even more aggrieved and condemned his cruel deed. Not only had he killed an innocent sage, but he had also caused the death of these two old people, because without the love and care of their son, they were bound to die soon. Crying, and with a trembling voice, he revealed his identity and confessed his ignominious deed. He fell down at Andha Muni’s feet and begged for forgiveness.

Upon hearing the shocking news, the parents turned pale and sat stunned, unable to utter a word. The pangs of separation from their beloved son, who was their very life and soul, crept into their hearts and stole their will to live. They sat motionless, with tears running down their cheeks. Finally, in a faltering voice, Andha Muni addressed Mahãrãja Daåaratha. “O King, because you have no son, you cannot even estimate our pain. Since we are both blind, we have been practically dead for many years, and only the love and care of our son kept us alive. Now, because he has left, we will also die. But one day you will have a son, a powerful, virtuous prince who will obediently serve you with love and devotion, as Sindhu Muni served us. Then you will also have to undergo the pangs of separation from him, because he will be forced to leave you for a long time. Then you will share our pain.”

The king, deeply aggrieved, accepted the curse of the old sage and silently took it upon his head. The parents submerged themselves in thoughts of their beloved son and completely withdrew their senses


from the outer world. Without any further word or gesture, they left their bodies.

Due to this curse, Daåaratha Mahãrãja was later forced to send his beloved son, Årì Rãmacandra, to the forest for fourteen years. Then he could understand the pain that he had caused Andha Muni and his wife.

This story illustrates that even a spotless monarch like Mahãrãja Daåaratha, who was loved and celebrated by all his citizens for his honesty and virtue, fell victim to his erring senses and was forced to commit a grave offense. This is the nature of the material world. Nobody is perfect.

Carefully avoid disrespecting others. You will certainly commit offenses in your life; it is hardly avoidable. Try to be humble and show respect to others. Then, if you offend someone, you can respond with due humility, as Mahãrãja Daåaratha did. This is a safe position for any student or teacher.

The Ideal System From a young age I aspired to become a professional mëdaùga

player, and my own training gives an example of how students learn to play the mëdaùga. Of course, few students can follow such a rigorous program, but at least you get the idea.

For the first five years, from seven to twelve years of age, I learned only hasta-sãdhana. My guru was very strict in this regard. After these five years, my hands were ready. There is a Bengali saying: siõhera dudha rãkhite gãribenã ghãtira pãtre, sonãra pãtre yadi rãkhibe


tabe. You cannot put lion’s milk in a clay pot, because the milk is too hot and the clay pot will break immediately. You need a golden pot to hold lion’s milk. Similarly, you have to make your hands golden to fill them with the sweetness of the mëdaùga, because the sweet sound is very hot.

During the next two years, my guru taught me the vast variety of hãtuti. I could immediately learn all the mantras he showed me because my hands were ready. By practicing hasta-sãdhana, I had learned the alphabet of the mëdaùga. Then, by learning hãtuti, I could write words.

The next step was to build whole sentences, or to play kìrtana melodies. For that, I had to go on stage. After one year of learning hãtuti, my guru allowed me to accompany him to various programs and watch him playing. In this way, I got an impression of how to play on stage—how to look, how to move, how to sit, how to stand. And I tried to recognize the mantras he was playing. When I had completed all the hãtuti, I started to learn the Ãrati Mantra, tehãi, and so on.

One more year passed; I was about 15 years old by this time. My guru took me on the stage for the first time. I became his bauti, the second mëdaùga player. In the middle sits the singer, on his right side the main mëdaùga player, and on the left side the bauti. The bauti follows the main player in every respect. This is the authentic system of learning from the guru; you sit on the stage and follow your guru as he is playing.

When my guru played mantras that I already knew, I joined in, exactly following his hands. When a part was unknown to me, I stopped and watched. Sometimes my guru stopped playing and left


a part to me. One day, he left the stage and placed me on the right side. It was up to me to perform the kìrtana on my own. Of course, he remained present, watching and helping me. In this way I was gradually introduced to the art of playing on stage.

This is the ideal system of training a sincere and able student. Not everyone can follow this program, but you get the idea: be always dependent on the guidance and mercy of your teacher.

Twelfth Month


Twelfth MonthHãtuti

This mantra has a nice melody. It helps you to concentrate on the rhythm and to learn to produce a sweet sound on the mëdaùga.

Æ HA 1� #dhinita#dhini#dadhini#dhini#tiniti#nitini#dadhini#dhini#gheneta#gheneta#kheteta#gheneta#khetaghe#nakheta#daghine#takheta(#takta#ktak#takta#daghine/#jha#_gurugur)§

Translation

dhi Left open + Right 3 closedni Right 1 closedta Right 3 closeddhi Left open + Right 1 closedni Right 3 closedda Left open + Right 4 opendhi Left open + Right 1 closedni Right 3 closeddhini (same again)

2�3 Twelfth Month

ti Right 3 closedni Right 1 closedtini tini (same again)da dhini dhini (as above)ghene ta ghene takhete ta ghene ta,

kheta ghena kheta (as in HA 12, page xxx)da (like jha)ghi Left openne Right 1 upta Right 4 openkheta (as usual)tak tak tak Right 4 closed (3 times)takta (like klanta in TEH �, page xxx) da ghi (as before)ne Right 4 openjha guru gur (as usual)

How to practice

Æ Notice the triplet rhythm. The second, fourth, and sixth dhini have a short 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 mãtrã dashes. Practice intensely for some time and you will soon see the benefit.

Æ HA 1� #jhajhajha#teretereteretere#khetatakhiterekheta #terekhetateretere#khetatakhiterekheta#tatata#teretereteretere#khetatakhiterekheta #terekhetateretere#khetatakhiterekheta#daddhinteretere#khetatakhiterekheta #terekhetateretere#khetatakhiterekheta#daddhinderegeda#jhadaddhin#deregedajha#daddhinderegeda

Translation

jha jha jha (as usual)tere kheta (as usual)tere tere khetatakhi tere kheta


ta ta ta Right 4 open (3 times)dad dhin dere geda jha

(as in HA 3)

How to practice

Æ Look at the rhythm: jha jha jha and ta ta ta are played in the same way as dad dhei ta in Hãtuti 1. That means, if you divide the mãtrã into eight parts, the first and second jha take three parts

2�� Twelfth Month

and the third jha takes the last two parts.

Æ This is a double-speed mantra. You should practice until you can play the ending (dad dhin dere geda/jha) as fast as a short tehãi in kìrtana (like tere kheta/jha). Look at the mãtrã dashes. If you cannot play that fast, you know how much more you have to practice. But be patient. If you continue, you will surely come to the required speed.

TehãiThe next tehãi is very dynamic. Use it for fired-up kìrtana like

Gaura-ãrati. It starts on Hare Rãma.

Æ TEH 1� #tatatata#katakata#ghughu#ratarata#dhapatadha#patadhani#dhakagra#bajata(#dagurugurdh#in_tadhin/#jha)§

Translation

ta Right 3 closed

ta Right 1 closed

tata (same again)

katakata (like kheta kheta)

ghughu 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

dagurugurdhintadhinjha(as in Tehãi 9, page xxx)

How to practice

Æ Look at the rhythm: In dhapata dhapata dhani, each note takes one fourth of the mãtrã. Play it in strict rhythm. The sequence dhakagra bajata is played as follows:

#dha#ka#gra#ba # #ja #ta

Play the ka very strongly. It adds a tasty spice to this mantra.


The last four tehãi are quite demanding. Most probably it will take some time before you can play them in kìrtana. But since they are very important and beautiful, and as they introduce you to the realm of advanced mëdaùga mantras, you should practice them steadily, like hasta-sãdhana, until your hands become ready.

In a slow kìrtana you will be able to apply Tehãi 17. It starts on Hare Rãma. The combination drege is very important for bhajana mantras, so practice nicely.

Æ TEH 1� #dhatadhi#dregedhene#dadhinadhi#dregedhene#tatathi#trekhethene#tathinathi#trekhethene(#dadhinda#dregedhene/#jhakot)§

Translation

dha (like jha—strong, but not too strong)ta Right 1 updhi Left open + Right 1 closeddre Left open + (Right like tri in

TEH 12, page xxx)ge (like jha)dhe Left open + Right 1 closedne Right 3 openda Left open + Right 1 updhi (as before)


na Right 3 opendhi drege dhene (as before)ta Right 4 open (strong, but

not too strong)ta Right 1 upthi Left closed + Right 1 closedtrekhe (like trikhi)the (like thi before)ne Right 3 openta Right 1 upthi (as before)na Right 3 openthi trekhe thene (as before)da Left open + Right 1 updhin Left open + Right 1 closed da (like jha—strong, but not too strong)drege dhene (as before)jha kot (as in TEH �, page xxx)

How to practice

Æ The first note in the first and second line each take half a mãtrã; thus they are twice as long as the other notes. The same applies to the dhin in the last line—it makes the beat syncopated. Listen to the CD.


Æ You have to make your hands strong and smooth to produce the sweet sound of this mantra. Playing this mantra is good exercise for practicing the change between 1 and 3 fingers, and also 4 fingers and thumb (in drege). Practice the first two lines separately for a long time, like hasta-sãdhana. Later, when you enter the realm of bhajana mantras, you will greatly benefit from this effort.

The next two tehãi are double-speed mantras. Look at the mãtrã dashes: tere kheta gade ghine dheiya is as long as a short tehãi, which means half as long as Tehãi 5. Also, tere kheta jha has to be played twice as fast as in the original tehãi (Tehãi 2).

Tehãi 18 (starting on Rãma Rãma) is the shorter version of Tehãi 19, which starts on Hare Rãma. Practice them together.

Æ TEH 1� #dhautinit#yakheta#tateretere#khetatakhiterekheta#terekhetagadeghine#dheiyaterekheta#gadeghinedheiya#terekhetagadeghine


Æ TEH 1� #dhautinit#yakheta#tateretere#khetatakhiterekheta#tautinit#yakheta#tateretere#khetatakhiterekheta#terekhetajhatere#khetajhaterekheta#tateretere#khetatakhiterekheta#terekhetagadeghine#dheiyaterekheta#gadeghinedheiya#terekhetagadeghine

Translation

dhauti (like jhauti in TEH 13, page xxx)ni Right 1 uptya Right 4 openkheta (as usual)ta Right 4 open (strong)tere tere kheta

takhi tere kheta


tauti (like dhauti, but only right hand plays)

tere kheta jha (as TEH 2, page xxx, but double speed)

tere kheta gade

ghine dheiya

(as Tehãi 5, page xxx, but double speed)

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How to practice

Æ The first line is played as follows:

#dha#u#ti#ni # #tya #khe #ta~

The second line of Tehãi 19 (tauti nitya kheta…) follows the same rhythm.

Æ Now you will see the value of practicing tere tere kheta takhi tere kheta so intensely. You must play it in double speed or you cannot use it in kìrtana.

The last tehãi of this course is again a double-speed mantra. It is very sweet and beautiful. The sequence dhene ne tete te is also used frequently in bhajana. Moreover, this tehãi introduces a new important combination, namely ta kuru khur. Practice with a metronome to get a feel of the rhythm.

Æ TEH 20 #dhenenedhenene#tetetedhenene#dhenedhenedhene#takhurukhurtathene#takhurukhurtathene#dhintadhina#dhintadhina#dhintadhina#jhatereterekhetatak#tereterekhetatakterekheta#dhintadhina#dhintadhina#jhatereterekhetatak#tereterekhetatakterekheta#dhintadhina#dhintadhina


Translation

dhe Left open + Right 1 upne Right 1 closedne Right 3 opentete te (like dhene ne before, but only the right

hand plays)dhene (as before)ta Right 1 upkhuru khur (khenere khena—like guru gur, but left

hand closed instead of open)ta Right 1 upthe Left closed + Right 1 closedne Right 3 opendhin Left open + Right 3 open ta Right 1 opendhi (like dhin above, but half of its length)na (like ta above, but double length)jha (as usual)tere tere kheta (as usual)tak Right 4 closed

How to practice

Æ Look at the rhythm. Each mãtrã takes six notes, which means that khuru and khur are as short as ta, similar to da guru gur. The sequence dhin ta dhina is played as follows:

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#dhin#ta#dhi #na #_

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

#jha # #tere #tere #kheta #tak #tere #tere #kheta #tak #tere #kheta

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

More Special MantrasFinally, here are two mantras that you need when singing “Jaya

Prabhupãda,” etc. When the kìrtana is really fast, the singer usually makes a break and continues slowly: “Ja - - - ya — Pra-bhu-pã-da….” In that case, you play the two following mantras:

Æ X � #jajajhe#najhena#jajhena#jhenow_#tatathe#nathena#tathena#thenow_

Æ X � #jajhena#jhenow_#tathena#thenow_


Translation

ja (like jha)jhe (like ja, but strong)na Right 4 opennow (same, but double length)ta Right 4 open

the Left closed + Right 4 open (strong)

na, now (as before)

How to Play “Jaya Prabhupãda” SlowlyWhen the singer interrupts the rhythm by singing a long “Ja - - -

ya,” you stop playing. On “Pra-bhu-pã-da” you continue with X � and then X � 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 #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

pa da Pra bhu


pa da Pra bhu


pa da Ja ya Ja ya Pra bhu


pa da Ja ya Ja ya Pra bhu

#ja #jhe #na

pa da


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

Playing the Standard Kìrtana MelodiesWe want to end this twelve-month course with an overview of

how to play the standard kìrtana in an ISKCON temple program. Of course, the routine is not fixed. Your contribution as a mëdaùga player depends mainly on the mood of the kìrtana singer—you have to follow him, not vice versa. Still, there are some general rules that will help you to play nicely in kìrtana.

The Gaura-ãrati has already been explained on page xxx. We have also discussed how to accompany the Hare Këòøa mahã-mantra. Here we give information about the songs we sing during the morning program:

(1) Maùgala-ÃratiÆ Basically, you play as you do in Gaura-ãrati. Since the mood

during the brãhma-muhúrta is much more peaceful, you have to play more softly than in the evening. Therefore, use short tehãi rather than fired-up long ones. (However, Tehãi 17 and 20 sound wonderful in the morning if you can play them nicely.)

Æ Do not play Second and Third Speed before coming to the fifth stanza (årì rãdhikã-mãdhavayor apãra), unless the singer demands them by giving you a sign or by playing the karatãlas in double speed.


Æ The Fourth Speed should not be played in this song, but if you have a very dynamic singer, you can play it for a short time at the end of the mahã-mantra part.

(2) Nësiõha-StotramÆ Play the Ãrati Mantra for the first part (until nësiõham ãdiõ

åaraøaõ prapadye) and different short, middle, and long tehãi at the end of every second line.

Æ From tava kara-kamala-vare until tanu-bhëùgam, play Second Speed, with dvãra at the end so that you can enter the Third Speed on keåava-dhëta.

Æ Play Third Speed from keåava-dhëta until the end of the line and finish with a short tehãi.

Æ Repeat the same sequence on the audience’s part, but use different dvãra and tehãi. It sounds nice if you play take take tak on the singer’s part and tak tak tak tak take take tak when the audience responds. If this part is repeated, you can use D 3 and D �.

Æ If the kìrtana gets more fired up, especially in the evening after Gaura-ãrati, you can enter Fourth Speed on jaya jagadìåa hare. Return to Second Speed at the end of the line, as before.


(3) Tulasì-pújãÆ Here is a nice system for this song:

1st Line – Singer (namo namaæ tulasì! këòøa-preyasì namo namaæ) 1st Speed – Audience 1st Speed + full-length Tehãi (starts on Hare Rama) 2nd Line – Singer (rãdhã-këòøa-sevã pãbo ei abilãòì) 2nd Speed + Dvãra – Audience 3rd Speed + Tehãi Refrain – Singer (namo namaæ tulasì këòøa-preyasì namo namaæ) Dvãra + 3rd Speed – Audience 4th Speed + Tehãi

Repeat this sequence until you come to the last stanza— usually it is sung in a different melody:

1st Line – Singer (dìna këòøa-dãse koy, ei jena mora hoy) X 1 (dhei da dhei ta kheta~) – Audience X 1 2nd Line– Singer (årì-rãdhã-govinda-preme sadã jena bhãsi) X 2 (dheiya ta kheta~) – Audience X 2 2nd Line– Singer (årì-rãdhã-govinda-preme sadã jena bhãsi) X 3 (dhei tat da ta khi~) – Audience X 3, ending with X � Refrain – Singer (namo namaæ tulasì këòøa-preyasì namo namaæ) Dvãra + 3rd Speed – Audience 4th Speed + Tehãi

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


dhei# #tat #da #ta #khi #tat #da #ta #khi #tat #da #gi #da #gi #da

çré rä dhä go vi- nda pre me

dhei# #tat #da #ta #khi #tat #da #ta #khi #tat #da #gi #da #gi #da

sa dä ye na bhä si

dhei# #tat #da #ta #khi #tat #da #ta #khi #tat #da #jha

çré rä dhä go vi- nda pre me

dhei#

#ta dhei # #ta dhe#guru gur #da #da #da

sa- dä ye na bha (si)

#tak #tak #tak #tak #take #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 kå ñëa pre ya si


#Æ Another system is to sing each line twice, instead of repeating the refrain after each line. Then you can play as follows:

1st Line – Singer (je tomãra åaraøa loy, tãra vãñcha púrøa hoy) 1st Speed – Audience 1st Speed + short Tehãi 1st Line – Singer 1st Speed – Audience 1st Speed + full-length Tehãi 2nd Line– Singer (këpã kori’ koro tãre bëndãvana-bãsì) 2nd Speed + Dvãra – Audience 3rd Speed + Tehãi 2nd Line – Singer Dvãra + 3rd Speed – Audience 4th Speed + Tehãi

(�) Guru-PújãÆ This song has two melodies. Usually, the second melody starts

with cakhu dãn-dilo jei, but sometimes later, on årì-guru karuøã-sindhu. It depends on the mood of the singer, since the second melody is more dynamic. You have to know when the singer will change because you have to change the mantra accordingly.

Æ The first melody is accompanied with First, Second, and Third Speed, according to the mood. Follow the principle of maùgala-ãrati (first line—Ãrati Mantra with tehãi, second line—Ãrati Mantra with tehãi when the kìrtana is slow, and with Second and Third Speed when it gets faster).

Æ For the second melody you must play X 1 and X 2, as above in the tulasì-pújã. The rule is that you play X 2 in the second line

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whenever you have played X 1 in the first line. These two mantras belong together.

Æ The last line (hã hã prabhu koro doyã, deho more pada-chãyã) is often sung in half speed. Then you play X � (ja ja jhena jhena ja jhena jhenow) in the first line and X � (ja jhena jhenow) in the second line. These two mantras must also be played together: Whenever you play X � in the first line, you must play X � in the second line.

(�) Finishing the KìrtanaÆ All songs are finished in the standard way, as you have learned

in the Tenth Month. In a later course book you will learn many more mantras and decorations. Until then, play the standard system, which is very nice and pleases Këòøa, because it follows the paramparã. Do not add speculation beats. Try to become a better mëdaùga player by improving your hands and developing your feel for rhythm and speed. Këòøa and the devotees will appreciate this endeavor and soon you will achieve the result of your sincerity.

The Music Conference BoardIn India, traditional music is still considered one of the most

valuable treasures in contemporary art and culture. The government, therefore, takes great care to preserve its vast musical heritage and to train students to become masters of the various disciplines. The Music Conference Board, established under the supervision and sponsorship of the Ministry of Culture, regulates the licensing of


music teachers and schools. It also encourages the education of youngsters by maintaining schools, organizing competitions, and awarding scholarships.

To become an authorized music teacher in India is a difficult and lengthy undertaking. Many persons aspire for this highly prestigious and lucrative profession. First one has to study under a registered teacher for many years. When the teacher sees his disciple sufficiently talented and sincere to attain the professional level, he will take him on the stage and gradually introduce him to the music scene. They will play at village programs, then at regional events, and finally at the big pãøîala festivals in the cities. When musicians acknowledge the student’s abilities, the teacher will apply for his admission to competitions. There, the aspiring candidate will be severely tested. He competes with many students who are on the same level. Sometimes thirty students compete with each other, and only the winner stays in the running. The others have to wait for the next competition.

After the competition, the judges, composed of renowned, retired musicians, test his theoretical knowledge and personal qualifications. Upon their approval, he becomes an assistant; usually, he becomes a co-teacher in the music school of his own teacher. There he continues his own musical education and also learns to train students and manage and maintain a school. After some years of practice, his teacher allows him to open his own school. For that, he has to apply to the Board. They again send a panel of judges, who check his qualification and personal conditions. They want to know where the school will be established, whether there is enough capital, how many students will stay there, and who will take care of them. If they are satisfied with

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the candidate, they will send a letter of recommendation to the Board, and after some months he will get permission to open a school.

The Board offers further cooperation with the newly established teacher. This is required if his students want to become officially registered musicians and teachers. The teacher has to send regular reports on the progress of his disciples to the Board.

The Board also offers one-, three-, or five-year courses at its own music schools. There the students undergo a systematic, comprehensive training, which is completed when the student gets certain awards. By getting these awards or by taking part in competitions, the government institutions recognize the student, and thus the path is open for scholarships and public employment.

Taking part in competitions is a big challenge for private music schools. The students have to compete with other students who are on the same level. If they win, they will be awarded scholarships by the Board, which has a budget to support their education. Also, the teacher will gain a good reputation, and many sincere and talented young students will aspire to become his disciples. Thus he will be able to increase the standard of his school. On the other hand, if a school regularly shows bad results, people will conclude that the teacher is not qualified and his school will close. In this way, a pure and professional standard is guaranteed in the Indian music scene.


Mëdaùga CompetitionsMany competitors usually take part in a mëdaùga competition.

The basic system is that two of them start a duel, in a kind of question-and-answer game. The first one plays a mantra, and the other, the challenger, must play a mantra double the length and speed of the first. Then, the first competitor must again play a mantra double the length and speed of the last one. If possible, the challenger must again play a mantra double the length and speed of the last one. Therefore, he has to play a mantra eight times longer and eight times faster than the original one. If he succeeds, the game starts anew, but this time the challenger plays first. The competition continues until one of them has made too many faults and is disqualified by the judges. Then the next challenger competes against the winner. In this way, the competition continues until one player remains. He is the match-winner.

If you are the first one to start, you have to defeat all the other participants. There is, however, an advantage to being first; you can determine the game by choosing the first mantra. If you know your own abilities and those of the other players, you have a big advantage. Usually a player who has already won some competitions will start, and the newcomers are the challengers.

All the mantras have to be played according to a certain intricate system. The judges not only look at speed, technique, stroke, and pronunciation of the mantras, but they also check the behavior of the participants, including the way they sit, stand, and hold the mëdaùga. The judges are experienced musicians, and they disqualify any player who does not play bona fide mantras.

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Competitions for junior players begin with short and slow mantras. Although each duel ends quite quickly, usually after ten minutes, the competition can go on for five hours or more if thirty players take part in the competition. And during this time the participants have to stand and dance to the beat. It is a very demanding event.

Competitions for senior players last even longer. The same question-and-answer game is played, but the mantras are much longer and are played much faster. This is a very dynamic and beautiful event, taking place on a highly professional level.

In another type of competition, an expert singer comes on the stage and sings pure rãga and rãgiøì melodies. Two mëdaùga players have to accompany him alternately and demonstrate their abilities through various mantras. The judges award points for skill and expertise. This is an exciting competition, attractive for both the players and the audience.

My First Mëdaùga CompetitionWhen I aspired to become the mëdaùga teacher of the ISKCON

Gurukula in Mãyãpura, I entered an unusual competition. I had grown up in the neighborhood of the Mãyãpura project and witnessed the activities of the devotees from the very beginning. Later the gurukula was established, and one day I heard that they were looking for a mëdaùga teacher. At that time I was fourteen years old, still living under my guru’s personal care, attending high school, and playing in professional kìrtana parties. My guru advised me to go there and apply for the job.


When I arrived at the temple, a group of devotees were performing bhajana. The Bengali singer was leading nicely, but the mëdaùga player, a stout American brahmacãrì, was playing with lots of devotion and enthusiasm but completely wrong. I immediately planted myself before him and demanded the mëdaùga. Since I hardly spoke any English, my friend translated for me, and after a short discussion, the brahmacãrì punched me in the face, and blood started to run from my nose. It was a tumultuous scene—imagine, a fourteen-year-old Bengali boy, in college uniform, without åikhã or tilaka, without proper language or behavior, plunges into the assembly, grabs the mëdaùga, and disturbs the kìrtana.

Still, somehow Këòøa inspired me to be persistent, and my friend tried to convince the devotees to let me play, since he knew my abilities. The devotees threatened to call the police and put me in jail, but my friend kept on trying to convince them to let me play. Finally the kìrtana leader said, “Okay, let him play for ten minutes. If he’s good, we engage him. If not, he’ll go to jail.”

As I started to play, everyone became charmed. Until then most of the devotees had never heard an experienced mëdaùga player. My playing was far from perfect but was still on a level unknown to the devotees. The kìrtana leader, Murãrihari Prabhu, was teaching music at the gurukula. He immediately engaged me, and thus I started to teach mëdaùga playing. Murãrihari Prabhu became my first student in ISKCON. I also taught him Gauîìya Vaiòøava bhajana tunes. My second student was Anirdeåa Prabhu, who later became Bhaktividyã-púrøa Mahãrãja. When he became the gurukula headmaster, he engaged me in teaching his boys.

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After one year, the gurukula staff decided to organize a competition to find the best teacher. It was a big event. As I have mentioned before, to be employed by ISKCON—at that time practically the only institution in Navadvìpa run by Western people—was a highly prestigious occupation, and many renowned players applied for that job. I was naturally very scared upon hearing the many prominent names and asked my guru for advice. He was very heavy and boldly declared, “Go there without hesitation and fight or else I’ll stop teaching you. You must defend the pure system of Gauîìya Vaiòøava mëdaùga culture. I’ve invested so much energy in your education, and if you’ve learned what I’ve taught you, you can win. In any case, it will be an honor to compete with these great players on stage, and if they defeat you, you will receive their mercy and can learn from them.” In this way, he encouraged me to compete and to be humble. By his mercy, I emerged successfully from the competition and continued to teach in the gurukula.

For sixteen continuous years I was engaged at the Bhaktivedãnta Swami Gurukula in Mãyãpura, under the care of Bhaktividyã-púrøa Mahãrãja. I am greatly indebted to him, and he is one of my åikòã-gurus. I learned a lot from him about Vaiòøava qualities and how to teach and train children. He has always been concerned to uncover the lost treasure of Gauîìya Vaiòøava culture.

Mrdanga Bablu Das

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Transcript of Mrdanga Bablu Das