Tuning the Chanting Circuit

Identify the Rhythm

Break the Verse into Quarters

Resonate at the quarter ends

niyataṃ kuru karma tvaṃ(mm)

moghaṃ pārtha sa jīvati(ii)
tair dattānapradāyaibhyo(oo)
eṣa vo ‘stv iṣṭa-kāma-dhuk(a)
ye pacanty ātma-kāraṇā(ā)t
karma jyāyo hy akarmaṇa(a)
purovāca prajāpatiḥ(i)
mucyante sarva-kilbiṣaiḥ(i)

Calibration of the Vocal Apparatus

Fine Tuning the Visarga

  1. Visarga in between the verse should be a quick expulsion of air and not take any additional time for rendering. On the other hand, the Visarga at the end of the line takes form of the vowel sound. Good example is the Shanti invocation 3 times. शान्तिः शान्तिः शान्तिः would sound like śānti- śānti- śāntiḥi.
  2. In Verse 3.10 सहयज्ञाः प्रजाः सृष्ट्वा पुरोवाच प्रजापतिः only the ending visarga should like prajapatihi. There should be no extension in सहयज्ञाः प्रजाः

Alpaprana and Mahaprana Sounds

  1. √भू The root sound means to be.. There is a strong resonance of this feeling in all the words containing it..Hence we can fix our pronunciation with this feeling
  2. ख् means space..
  3. √धा means to hold.
  4. √स्था means to stand
भूतानि   भवन्ति   भूत्वा   ब्रह्मोद्भवम्  समुद्भवम्
श्रीभगवानुवाच इष्टान्भोगान्हि यज्ञभाविताः
कर्मभिः इन्द्रियेभ्यः संस्तभ्य (plurality)
भारत भेदं
सांख्यानाम् सुखदु:खबुद्धिं सिद्धिं श्रद्धा विद्धि युद्ध समधिनिष्ठा तिष्ठ प्रतिष्ठितम् श्रेष्ठ अधिष्ठानम्अनिच्छन्नपि गच्छति

Understand the Thermal Sounds.

Easy parsing of the Half Sounds.

भुङ्क्ते भुञ्जते सङ्करस्य सङ्गः साङ्ख्यानांकश्चित् निश्चित्यनिष्ठा तिष्ठ प्रतिष्ठितम् श्रेष्ठ तिष्ठन्ति अधिष्ठानम् सृष्ट्वा इष्ट

What is ऽ in between the alphabets?

And how to break at the Quarters? Sandhi Viched

  • Both A & B are preserved at the joint
  • A is slightly altered to allow smooth transition to B

Poise in Chanting: Balancing the syllable train

V or CV are examples of simple syllables.

Gita verse 3.1jyāyasī cet karmaṇas te matā buddhir janārdana
tat kiṃ karmaṇi ghore māṃ niyojayasi keśava
matā => ma tā
ghore => gho re
niyojayasi => ni yo ja ya si
keśava => ke śa va
jyāyasī     => jyā ya sī
cet => cet
tat kiṃ => tat kiṃ
māṃ => māṃ

CVCCV would be split as CVC CV

jyāyasī cet karmaṇas te matā buddhir janārdana
tat kiṃ karmaṇi ghore māṃ niyojayasi keśava
karmaṇas => kar ma ṇas
buddhir => bud dhir
janārdana => ja nār da na
karmaṇi => kar ma ṇi

Gita verse 3.4

na karmaṇāmanārambhān naiṣkarmyaṃ puruṣo ‘śnute
na ca saṃnyasanād eva siddhiṃ samadhigacchati
na kar ma ṇā ma nā ram bhān nai karm yaṃ pu ru ṣo ‘śnu te
na ca saṃ nya sa nā de va sid dhi sa ma dhi gac cha ti

Gita verse 3.15

karma brahmodbhavaṃ viddhi brahmākṣara-samudbhavam
tasmāt sarva-gataṃ brahma nityaṃ yajñe pratiṣṭhitam
kar ma brah mod bha vaṃ vid dhi brah māk ṣa ra sam ud bha vam
tas māt sar va ga taṃ brah ma nit yaṃ ya jñe pra tiṣ ṭhi tam

CVCCCV would generally be split as CVCC CV

3.15_1
yast vāt ma ra ti re vas yād āt matṛ ptaś ca mā na va ḥ
3.10_4
eṣa vo ‘stv iṣṭa-kāma-dhuk
e ṣa vo ‘stviṣ ṭa kā ma dhuk [No fallback vowel, लोकेऽस्मिन ऽ indicates that fallback to previous vowel not allowed here. It is like start of sentence.]

This paradigm of balancing and equalisation known as ‘sama’ seems to provide so much balance and ease in articulation. Essentially we are keeping the beginning simple for each syllable and shifting some of the consonant load towards the end of syllable.

vid-dhi   sid-dhi    śrad-dhā  bud-dhi
kar-ma brah-ma āt-ma gar-bha

tas-māt vah-nir
nit-ya ā-vṛt-ya vāk-ya niś-cit-ya mith-yā
niṣ-ṭhā tiṣ-ṭha
niś-cit-ya kaś-cit
naiṣ-karm-yaṃ ud-bha-va muc-yan-te saṃ-nya-sa gac-cha-ti
ja-nār-da-na
yast-vin-dri-yā-ṇi manasā
ni-yam-yā-ra-bha-ter-ju-na
a-ne-na pra-sa-viṣ-yadh-vam
eṣa vo ‘stviṣ ṭa-kā-ma-dhuk
ye-tve-tad abh-ya-sū-yan-to (Q1)
saṃ-stabh-yāt-mā-nam āt-ma-nā (Q2)
du-pū-re-ṇā-na-le-na ca (Q2)
ni-yam-ya bha-ra-tar-ṣa-bha (Q4)

What is the Gita meter?

CHANTING REFERENCES
http://mychinmaya.org/bhagavad-gita-all-chapters-audio/
http://www.geetachanting.net/bvg03v01-10/VOCAL ANATOMY & PRONOUNCIATIONSwara- https://youtu.be/a4rz9NbMq0M
Vyanjana - https://youtu.be/dq5VdY69RMc
SYLLABLES
https://bhagavadgitareader.wordpress.com/tag/syllables/
https://arshadrishti.org/wp-content/uploads/2016/04/Rules-of-Chanting-in-Samskritam.pdf

--

--

--

I write.. I weave.. I walk.. कवयामि.. वयामि.. यामि.. Musings on Life Lessons, Ancient Works on Wellness, Linguistics, Sanskrit, STEM, Patterns

Love podcasts or audiobooks? Learn on the go with our new app.

Recommended from Medium

The 25 Best Albums of 2018

Day Tripping: March 17

The Best 20 Ashley Roberts Quotes

Exclusive Interview with Popular Rapper & Lyricist D’NME

A Bright Cloud of Music

Legacy of a Showman

Mic-Check 🎵 Weekly Music Newsletter (5.9.22)

Hot jazz and air raids

Get the Medium app

A button that says 'Download on the App Store', and if clicked it will lead you to the iOS App store
A button that says 'Get it on, Google Play', and if clicked it will lead you to the Google Play store
Sujatha R

Sujatha R

I write.. I weave.. I walk.. कवयामि.. वयामि.. यामि.. Musings on Life Lessons, Ancient Works on Wellness, Linguistics, Sanskrit, STEM, Patterns

More from Medium

Energized by fear

The Path to commercializing drones in cities and why addressing 3 key issues IS necessary

From analytics to strategy — the ultimate practical experience

Outsourcing vs. In-House Recruitment: What to Choose?