Nadopasana and Sangeetarchana, Gna Na Bha, Dallas, TX- Nada - Dr.

Padma Murthy

A musical profile of Nadayogi, His Holiness, Sri Ganapathi Sachchidananda Swamiji of Mysore.

Ganapathi Gurumekam Sachchidananda rupam

Vibhudha nivaha sevyam yoga margadhi rudham
Saranamupagatanam aarthi sanghadri vagram
Mama hridaya nivasam bhakti namro namami

I offer my humble pranams at the Lotus feet of ourSadguru deva. My respects to the
esteemed scholars. Jai Guru Datta to all datta bandhus.

At the outset, it is my duty to convey my heart felt thanks to the organizers for having given me
an opportunity to share few of my experiences and thoughts about our sadgurus music and
musicology with you all. I deem it as an honor bestowed on me bySadguru deva. For the last
one week, you have been listening to discourses on various topics like Jnana, yoga, karma,
dharma and other aadhyatmic topics, spiritual subjects.

I am not giving a discourse. Rather, it may be slightly technical. You have all been singing and
listening to Swamijissongs on various deities and also namasankeertana.I shall try to give in
a nutshell, glimpses or a Birds eye view of the technical aspects of these songs.

These magnificent kirtanas look very simple. But lot of creativity and ingenuity are required to
compose them. Even musicians and musicologists are baffled at the technical intricacies of
these songs. They are of a very high order. They are beyond analysis. I request our gurudeva
to pardon me of my shortcomings. It is like six blind people trying to explain an elephant and
thinking, the part he touched is the real elephant. It is not an easy task.

One may ask What is so great about Swamijis music? There lies the secret.

Swamiji is beyond anybodys conception or imagination . He is a Swayambhoo (meaning

evolved by himself).

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His music defies all explanations and researches. We may go on with our old conceptions.
But he goes on and on everyday, every hour, every minute and every second with His new &
newer findings, singings, compositions and theories. Hence, His music is not easily reachable
in His Music for meditation and Healing Concerts. Yet it is available to everybody in His
namasankeertana. .

One may ask again if Swamijis music is unlike any other music, how to understand? It is not
necessary to understand His music at all, Simply listen, simply pray:

Vadyodancha divya nama sankeertana kalanidhim

Nadabdhim sachchidanandam sadgurum tam
Namamyaham.

Approach Him with all humility and reverence.

Among Indias men of God, Saints and spiritual leaders our gurudeva paramapujya Swamiji
has a special place by virtue of his attainments. He is a Seer, a Yogi, a Sadhaka, a Siddha
Purusha, a Revered Guru and above all an Avadhuta, a saint in the holy orders of the lineage
from the Divine Guru Sri Dattatreya.

Music is my language
Music is my expression
Music is my religion says Swamiji

His contribution to the field of music is immense. He is a music composer, music healer and a
great music artist Himself. His research in the field of therapeutic aspects of music is well
acknowledged the world over. His compositions are like precious Gems taken out from the
deep ocean of eternal Indian music. He has touched all aspects of music. No other composer
of carnatic music has composed such a vast variety of compositions in so many Ragas.
Swamiji has created new Ragas, varied number of Talas using different time measures.

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Swamijis compositions contain the essence of the ancient Indian Wisdom in all its branches. In
His songs, there is a very intelligent admixture of blending the various aspects of ancient Indian
thought. Lyrics and music blend in perfect harmony. To fathom the subtlety and greatness of
Sri Swamijis music is both fascinating and a challenging task even to those who are well versed
with music.

It is noteworthy that Sri Swamiji has both paternal as well as maternal background of forefathers
who were great musicians and musicologists.

An aspect of Lord Shankara descended on this earth in 7th century AD as Sri Sankara
Bhagawatpada to save the virtues and spread Gnana in this world. The same Lord in the form
of the great saint Vidyaranyabuilt Vujayanagara empire, worshipped musicand did
Nadopasana and spread the basic tenets of carnatic music in His treatise SANGEETASARA.

Govinda Dikshitar, a great scholarly saint, expert in Vedas, and Music, Jyotishya, Yantra,
Mantra and
Tantra Sastras wrote a valuable grandha or treatise on music SANGEETA SUDHA on the lines
of Vidyaranya.It is said that goddess Gayatri / Saraswati used to appear before Him and talk to
Him. His son Venkatamakhi made revolution by inventing the 72 melakarta system of carnatic
music. He is the architect of carnatic music of present times.

Pujya Swamijis mother and guru mata Jayalakshmisancestral great grand father
Subbayya/Lingannas brindavana situated at Sogala near Mekadatu, birth place of Sri Swamiji
bears testimony to the fact that she had this lineage. Govida Dikhitar is reverentially
worshipped even to this day at Pattiswaram temple near Kumbakonam, Tamilnadu. The great
composer of carnatic music Sri Mutthuswamy Dikhitar has followed this system and has
composed innumerable marvellous classical compositions.
Parama pujya Swamiji, who is a Nada Yogi, Nada Rishiand Nada Brahma is reborn in this
family to continue Nadopasana and he is doing so. Here I like to tell you that there are certain
ideas, some words of Indian philosophy and Sanskrit which cannot be correctly translated into
English. They cannot be analyzed and explained scientifically, e.g. Rasa, sphota, Nada,
sanskara etc.

Yesterday we were talking about the traces of good deeds of this life carrying over to the next

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birth. It is called Sanskara. But it is in the mind and cannot be kept recorded. How are
geniuses differentiated from idiots?. Psychology is still busy studying this aspect. If the great
flute maersto T.R. Mahalingam could play Ragam, Talam and pallavi which needs highly
technical skill at the age of 4, Mandolin Srinivas could play at the age of 3, Baby Gayatri could
play Veena at the age of 5. What explanation science can give?. It is sanskara from previous
births. Swamiji when he was a child of few months, used to cry on the lap of his grand mother,
when she was carrying the water pot on her head and walking, because the rhythm of her steps
was uneven. This accounts for Swayambhoo.

Coming back to Nadopasana, Vedas constitute the most ancient record of human civilization
available. Music is considered the 4th Upaveda in addition to Dhanurveda, Ayurveda and
Arthasastra. All music is evolved out of OM the mystic syllable, which symbolizes the absolute.
Anirvachakam Mahanadam Jagat Srististityantakaranam

An inexplicable great sound( Mahanada)is the cause for the emergence of the universe from a
primordial state of void (nothingness) , for its sustenance and destruction. Sarangadeva Great
musicologist of 13th century writes in his great musical work Sangeetaratnakara

Na nadena vinageetam na nadena vinaswaraha

Na nadena vina raghaha tasmat nadatmakam jagat

There is no Geeta without Nada; There is no Swarawithout Nada. There is no Raga without
Nada. Sruti, Swara, Raga are all born out of Nada which encompassthe entire universe.Nada
Is the basis for all music in this world. Na stands for Prana. Da stands for Agni (fire). Nada is
thus produced by the combination of Prana and Agni.heat composer Thyagaraja (carnatic
music)of 18th c. AD sings in his Mokshamugalada a kriti in Saramati Raga
thus:-

Pranaanala samyogamu valla pranava nadamu sapta swaramulai paRaga.

The vital breath contacting with fire within, producePranava Omkara and the 7 notes.

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Just as Beethoven, Bach and Brahms- who are the trinity of western music, Thyagaraja,
Muthuswamy Deekshithar and Syama Shastri of the same period 18th century are called Trinity
of Carnatic Music. All of them are prolific composers, great saints and musicologists.

The great composer Thygaraja calls Lord Shankara

Nadatanum in the Chittaranjani Raga Kriti.

Nadatanumanisham Shankaram namamime manasa, shirasa.

Modakara Nigamottama Samaveda Saram Vaaram Vaaram

I bow to Shankara, the embodiment of Nada the essence of Samaveda with my mind and
body.
Nada is produced in the human body by minute Dwhani (sounds) due to the vibration of air
(Vayu). Starting from the Navel, it travels through the chest, neck, head and comes out through
the mouth.

Naabhi Hritkantha Rasana Nasaadula Ento Shobillu Saptaswara, a Jaganmohini Raga Kriti
by Thyagaraja.

There are five stages through which Nada develops and manifests itself in the human
body-

Sukshma, Atisukshma, Vyakta, Avyakta and kritrima. Kritrima is the manifested one.

Naada produces Shrutis Sruyanta iti srutayaha- Those sounds which are just heard are
Shruthis. Shrutis produce Swaras Swatoranjayati Srotruchittam. Those which pleases the
ears are Swaras. Swaras produce Raagas Yosau Dhwani Viseshastu Swaravarna
Vibhooshitaha Ranjako Jana Chittanaamcha Sa Ragaa Kathitho Budhiihi.Those which pleases
the minds of people are Raagas. Raagas produce Geethaas -

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There are two types of naada (Sound): Aahata and Anaahata. Anaahata Nada pervades the
Universe and heard by Yogis. Aahata is the sound that is heard, created the entire music of the
world, through the medium of Notes.Naada and Bhati Yoga are most important aspects of
Swamiijis music. His Mantra is Naadopasana, Naama Sankeertana, worship of music.

Anjaneya is the first preceptor of our music. Hanuman is the god of Shabda, Naada,, Dwhani
and Sangeeta.

Swamiji in his kriti in Panthuvarali Raga sings

1.suvarchalaamba prana deva gandhamadhana

parvatavasa nadayogiye nambide ninna.

2. In the kriti in Nartaki Raga He sings

shabdamayaa sastramayaa Sri Anjaneya barayya
Sri Anjaneya barayya.

3. In the Kriti in Kiravani Raga he sings

Ramanamave nanna garjane kama devane ninage
Varjene Nanna swasave pranava sabdavu hridaya baditave layada sugatiyu.

My very breath is the sound of Pranava. My heart beats are Laya and Taala.

4.In Mohana Raga he calls Ganapathy the supreme lord of Naada.

Veda Naada Naayaka Sakala Vighna Naasaka

Gana Samooha Vandita Sakala Looka Rakshaka.

5.In the Tripura Navaavarana Dhyana Kriti in Shanmukha Priya Raaga he sings

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Sri Raja Raajeshi Kuru Satkrupaam. Sri Chakra Vaasaasi Hridimevasa. Naadaakaara Tano
Shiva Vama Sharira Gate, Vaagaarthaakaare Bahu Vedaante Pravichaarye. Devi is Nadaakara
Tano.

Our revered Gurudeva who is walking and moving with us in the human form himself is Naada
Brahma.

In his Chutuku Saptasati, seven hundred sayings of Swamiji He has given the entire theory of
Naada, its origin and other information about Musicology in couplets. He is a moving
encyclopedia of music. Leading musicians and musicologists have acknowledged Swamijis
contribution to the cause of music. I shall try to explain a few of them in original Kannada.
English translations arew given in the English version, as well as in the yearly Diary / Calender
which was released two days back.

1. Love Naada music ! Naada is strength ! Shiva is made of Naada Sachchidananda.

2. For Naada, for Sound, a tune ! Music of Naada is an ocean, wide ! as wide could be !
In the universe Brahma is Naada. The creator himself isMusic Incarnate ---Sachchidananda.
3. Naada, music is my life breadth. My life breadth is rooted inNaada. The sound of breath
is the sound of life ! NaadaOmkaara, the word primal Sachchidananda.

4. Knowledge of Naada, of music is celestial knowledge.Angels live a life of music. He who

creates music is theblessed one protected by the Lord, Oh, God of Gods
Sachchidananda.

5.Sishurvethi Pasurvethi Vethi Gana rasam Phani oft quoted in Grandhas.

The life breadth of child and beast is Swara, Sound. Beast is incxapable of thought. A child is
innocent. Word and meaning together bring a World Of Music Sachchidananda.

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6.The sound of Om while asleep, the primal word; subtle music during the dreams. Music is
heard while awake; In all the three states there is Naada. Sachchidananda.

7.Nanna ninnolu naada, ellelliyu Naada, jagavella thumbihudu Anahata Naada. Naadake
naadanee Sachchidananda.

Within you, within me, within everyone, the sound of subtle music is there. The world overflows
with sound unstruck Annahata Naada, the music of the sound, You are the Music
Sachchidananda.

Thyagaraja Swamy sings in his Begade Raaga Kriti :Naadopaasana chese Shankara, Narayana, Vidulu velasiri Oh Manasaa.

Lord Shankara, Narayana and Brahma are pleased by Naadopasana. Our Gurudeva says
Naadopasana through Naama Sankeertana is the best method of praying to God in Kaliyuga.
He further elaborates - The body has a number of energy centres called Chakraas, 72,000
metaphysical energy channels called Naadis.. Each of these has its own elemental basis such
as Earth, Water, Fire etc., (Panchabhoota).

Each Raaga produces sound vibrations appropriate to a specific element and therefore to a
specific Chakra and a set of related body organs. Swamiji is an ardent votary of
Naamasankeertana. He has himself composed thousands of Bhajans that are replete with
curative powers for, as he says - The lyrics of my Bhajans incorporate several Bijaaksharaas
(seed letters, musical syllables) in them.

Why do musical notes have their effects on our body ?

Because, the tunes correspond to our nerves. The knowledge about this is called Raga Raagini
vidya or Siddavidya. When one hears the right kind of music, its effects on our body is
therapeutic. The nerves can be touched with the help of Music. In fact, so soothing is the
outcome, it looks as if the nerves are being given a massage.

Parama Pujya Swamiji, apart from being a gifted singer with golden voice, plays on instruments

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Synthesiser (Datta Veena), flute, and traditional Saraswathi Veena. He is a prolific composer,
musicologist and music therapist. He has composed and sung thousands of krithis and
keerthanaas in several languages like Kannada, Tamil, Telugu, Hindi, Marathi, Gujarathi and
Malayalam.

His compositions include :1. Krithis on GANAPATHI - in Ghana Raga Panchaka of Carnatic Music, Naata Goula, Aarabhi,
Varrali and SriRaga (Vinayaka, Mahadeva Putram, Paalaya Gananatha, Nayakam Vinaayakam,
Vaaranaasya).

2. Tripura Navaavarana Krithis Nine Navavarana krithis with all the details of names of DEVI,
name of CHAKRA etc., - one Ganapathi Krithi, one Dhyana Krithi, Dola and Mangalam - Totally
13 in all. Excepting Muthuswamy Dikshithar, who has composed Kamalaamba and
Abbhayaamba Navaavarana Krithis, no other composer has composed in this style.

3. Dwadasa Jyotirlinga Krithis - on 12 Jyothirlingaas,nMuthuswamy Dikshithar has composed

this type of krithis with all the details.

4. Krithis in 72 Melakartha Raagas of Carnatic Music.

Other composers are Maha Vaidyanaatha Iyer, Sri Balamurali Krishna, Koteeshwara Iyer and
C. Rangaiah.

5. Panchatatva Raga Maalika - is a very special melody composed by Sri Pujya Swamiji and it
is the first ever composition conceptualised by a composer of Indian Music. It is the greatest
contribution to the world of music therapy. This is a rare and original composition and it has
been hailed and reverentially acknowledged by great Maestros and Musicologists alike. Life is
a combination of body (Shareera), perceptory organs (Indriyaas), mind (Satva) and soul (Atma).
All matters are composed of five elements Aakasa, Vayu, Tejas, Up and Prithvi which are all
called Pancha Maha Bhutaas. Carnatic Music has 72 Melakarthaas or Parent Scales, out of
which Swamiji has identified 5 Raagas, which correlate to the 5 natural elements. The first
Raaga Kharahara Priya is further developed by Graha Swara Bheda (modal shift of tonic)
principle, which would yield 6 more Raagas bringing the total number of Raagas in the

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composition to 11.

6.Shat Chakra Raaga maalika .

7.Krithis in rare Ragas like Vitapi, Veenaadhari, Rushya Ketu priya, Savitri, Charavali, Varam,
Indudhavali, Kshana Prabha, Kalindaja, etc., No other composer has composed in these
raagas.

8. New Ragas - Ingeniously finding out new Ragas, which are not found in our music
grandhaas Ambaapriya, Krishnakunj etc.,
9.Divya Naama Kritis Sankeertanaas (Bhajans) composed in Kannada, Sanskrit, Telugu,
Tamil, Hindi, English, Marathi, Gujarathi, Malayalam etc.,

10. Solkattu krithis - Songs with Solkattu Swaraaas having Mridangajathis.

11. Samasticharana - Small Krithis having only Pallavi and Charana. Muthuswamy Dikshithar
has composed many krithis of this type.

12. Mani Pravaala Krithis - The Saahitya or the words are woven in two or more languages.

13. Bijakshara krithis - Containing subtle seed letters on various deities.

For example :- Mantra Pramaanam in Kalindaja Raga.

When they are sung, they produce such powerful vibrations that the listeners cannot escape
getting lifted from worldly gross existence to the transcendental experience of the soul.

14. Raaga names have been ingeniously woven in the Saahitya of the Kriti. For Example:
Punnagavarrali, Shivaranjani, Bowli, Gowrimanohari, Bhavapriya, kalyani, Sumanisaranjani, etc.

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15. Lalita Trisati Naamavalikrithis.

16. Tatvapada (philosophical theme krithis) For Example :- Mumukshu intirabekanna.

17. Kolata songs.

Example:- Ramanamma Ramanu, Kolu kolanna kole.

18. Patriotic Songs Jaya Jaya Jayee bhava in Shankarabharana Raga.

19. Yoga Saadhana:Example: Pranayamadhi in Saraswati Raaga.

20. Utsava Sampradaya Krithis like Nityotsva, Vaarotsava, Pakshotsava, Masotsava Krithis.
Datta Kagada Aarati Krithis containing the details of the Yoga Suthraas and Bijaksharaas which
are sung everyday - all the seven days of a week

21. Saptaswara Bijaakshara Maalika.

22. Saptarshi raamayana - a musical ballet.

23 Raaga Maalika. Like Madhura Madhura Meenaaksh

24. Grahaswara Bheda Raga maalika.

25. Raaga, Tana and Pallavi - extensive research in Raaga, Tana and pallavi, highest epitome
of Carnatic Music, which depicts the skill and creativity of the performer

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26. Swarakshara Krithis - Most difficult compositions which need high technical knowledge.
Sangitha Kalanidhi Shemmangudi Shrinivasa Iyer, K.V. Narayana Swamy, B. Raajam Iyer,
Laalgudi Jayaraman have tuned and sung these. In these Krithis Swara and Sahitya are the
same.

27. Krithis in Vivaadi Mela - Swamiji is expert in playing Ragalapana in Vivaadi Melaas and has
composed many krithis. Example :- Paalaya Govinda Gana Murthi Raga.

28. Niroshtaka In this Krithi the lips do not touch or come together while singing the Swaraas
or Sahitya.
Example: Jagadisha Gurudatta.
Muttaiyya Bhagavataar has composed one Krithi like this in Kannada.

29.Compositions in Hindustani Raagas - Like Desh, Sidhu Bhairavi, Behag, Darbari Kaanada,
Bhagesri, Brindavani, etc.,

30. Compositions in Various Taalaas in different NADAIS or GATHIS (Rythms) Example:Trishra, Khanda, Mishra etc.,

31. Navadurga Charitam - Dance Ballet on 9 forms of SHAKTI.

32. Dattavataram - Musical play which comprises of various Mudras (Hand poses) of Bharata
Natyam.

33. Songs on Deities - Songs on Ganapathi, Rama, Krishna, Subrahmanya, Ayyappa, Lakshmi,
Saraswathi, Paarwathi, Durgi, Parashakti, Hanumaan, Brahma, Vishnu, Soorya, Shiva, Gouri,
Ambaa, Dattatreya and Veera Raaghava ; We do not come across any other krithi on Veera
Raaghava except that of Swamijis.

34. Songs to suit Various Festivals - like Navaraatri, Shivaraatri, Yugadi, Datta Jayanthi,

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Harvest songs, Folk Melodies, Community Songs, Lullabies, Play songs for Children giving
moral education, songs on social problems, patriotic songs.

35. Swamiji has written the script, composed music and given the Musical Pravachanaas on
Ramayana, Mahabhaaratha, Bhaagavatha, Gurugeetha, Datthavathaaram, Subrahmanya
Charitram, Shivapuraana, Krishnaleela etc.,

36. Chutuku Sapthashati - 700 short sayings in Kannada, Telugu, English languages
resembling Sarvajnapadas of Karnataka which are like Uga Bhogas composed by
Haridasas of Karnataka. They contain details of musicology also.

37. Music for Meditation and Healing :- Revolutionary creativity coupled with humanitarian
goals in the form of Spiritual Therapy (Naada Chikitsa). It is unique.

Other Works On Music:

38. Naada Mantapa :- Unique design and construction of the unique auditorium Nada Mantapa
- only one of its kind which has worlds first and only Saptaswara Devata Mantapa built with
musical stone pillars,which gives out musical notes when struck.

39. Holistic Hospital :- Combination of Nada, Dhyana and Yoga exercises in Kriya Yoga Dhyana
Center.

40. Music Therapy Centre :- At the Holistic Hospital where music therapy (Nada Chikitsa) has
got a special wing headed by experts in music, musicology, & doctors working under the direct
guidance and supervision of Pujya Swamiji.

41. Raga Ragini Research Center.

42. Raga Ragini Sangeeta Vidyalaya - imparts music and Bhajans to interested youngsters free
of cost and they are encouraged to give public concerts.

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43. Bhajan Competetions - are held regularly every year at Gnana Bodha Sabha at various
centres of the Aashrama. Mysore, Bangalore, Chennai, Calicut, Vijayawada, Hyderabad, Delhi to name a few, to encourage youngsters, housewives & school chidren to learn more about our
heritage & music.

44. The services of Scholars in various fields of Specialisation like Veda, Nada, Sashtra, Yoga
etc., are recognised at the International level and Titles awarded. Further research encouraged.

45. Research for Doctoral Degree (Ph.D) :- Several research projects are going on with
scholors working on Doctoral Thesis on the mission of Swamijis Music.

46. Publications :- Publications pertaining to music and other subjects are regularly brought out
at the press, specially
installed for this purpose at the Aashrama.

47. VCDs, CDs, Audio & Video Cassettes on Swamijis Music, Concerts and Pravachanas are
regularly brought out at the specially built studio Nada Nidhi constructed at the Aashrama.

48. Vidyarthi Gnana Bodha Sabha:- Students belonging to various grades from 8th standard to
College level - both girls & boys are selected on International basis and annual camp will be
conducted at any one centre selected by Swamiji for 4 days. The chidren are given free
accomodation, food etc.,Classes & Lectures will be conducted by experts on Adhyatmika,
educational and Cultural and traditional subjects imparting value system to give an idea of
Indian heritage to the student. Swamiji him self takes part in counselling everyday. Bhajan
learning is compulsory. It is taught by experts in the field and on the final day, the children are
given an oppurtunity to show case their talent in singing.

There are also other performances by renowned artists who come forward eagerly to perform in
his presence. Renowned artists have broughtout CDs & Cassettes singing Swamijis songs.
Swamiji has given permission to some Senior Vidwaans to set their own tunes for his
compositions. Vidwan K.V.Narayana Swamy, Maharajapuram Santhaanam, T.M. Thyagarajan
have set some of the Keerthanas of Swamiji to classical carnatic Ragas.

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Many popular and great Vidwans have accompanied Swamiji on flute (Ramani), violin (M.S.
Gopalakrishnan, Lalgudi Jayaraman & L.Subramanyam), mridangam (Umayalapuram
shivaraman, Velluru Ramabhadran, Kaaraikkudi Mani, Bhakthavatsalam,Ella Venkateswara
Rao and others to name a few.

Swamijis works are too numerous. I am also a student sitting at the feet of our Sadguru to
learn Gnana, Naada, Bhatki and culmination of which is YOGA.
Naham Vasami Vaikunthe Na Yogi Hridaye Ravau
Madbhakta Yatra Gayanti, Tatra Tistami Narada

I am sure Gurudeva will bless us all while we do the Namasankeertana.

JAI GURUDATTHA

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