"A BEGINNER'S GUIDE TO KIRTAN" Text and Illustrations by Dan Hart CONTENTS Foreword Suggested Buildup of Kirtan Players Time Devoted to Kirtan When is Kirtan Best? Who Participates in Kirtan? Drums - the Key Instrument Basic Tabla Equipment Hand-Cymbals and Khartal How Much Skill is Needed? Specific Chants for Application of Pattern "A" Tuning Tabla Drums Instrument Setup Pattern "A" for Right Hand Drum Stroke 1 for R.H, Drum Stroke 2 for R.H. Drum Stroke 3 for R.H. Drum Notation Pattern "A" for L.H, Drum Stroke 1 for LH, Drum Stroke 2 for LH. Drum Notation Tone-bending Stroke I Pattern "A" Notation - Both Hands Together Relief fro: the Pattern Pattern "A" for Hand-Cymbals Stroke 1 Stroke 2 Notati Pattern " " for Khartal Stroke I w/notation Stroke 2 w/notation Compo: ite Notation for Pattern "A" Scientific Chanting The foNowing photocopies & illustrations appear after page Tabla and Mridangam drums Hand~ Cymbals and Khartal Raising the Pitch of the Right Hand Tabla Drum R.H RH, LH LH LE Stroke 1 - Figures a, & by Stroke 2 - Figure c, Stroke I - Figure d, Stroke 2 - Figure e, Stroke I Tone-bending - Figure f. 4 6 10 1 a 14 14 14 numbers listed:A BEGINNER'S GUIDE TO KIRTAN © copyright 1974 by DAN HART FOREWORD: About the author,,,Dan Hart is a professional musician, with home and family located just outside Washington, D.C, For twenty-four years, he Lived in Los Angeles, giving resident service to Self-Realization Fellow- ship (founded by Paramahansa Yogananda) from 1955 to 1970, He compiled the 1963 edition of "Cosmic Chants," by Yogananda and also performed on recordings of these chants, both as harmonium and tabla player. ‘The instructions that follow are further based on his experience playing and teaching kirtan over many years of countless satsangas and meditations, ‘The author is self-taught in his methods, Accordingly, the emphasis of this writing is to encourage the beginner to participate in kirtan with a minimum of instruction but thorough mastery of that instruction, FRE Many years ago, a large number of Kriyabans (initiates in the science of Kriya Yoga) gathered to hold their first kirtan (the addition of drums, hand-cymbals, and other rhythm devices that strengthen the usual harmoni. um accompaniment to group chanting sessions), They were men and women of all ages who had grown to love and respect the practice of chanting as an effective preparation for silent meditation and Yoga techniques practice. The added instruments of kirtan were something new, and they gathered with anticipation, enthused by thoughts of joy emerging through the power- ful instrumentality of drums et al... And certainly everyone, or so it seemed, planned on being an instrument- ality! There were several drummers, five or six with hand-cymbals, and perhaps another equal number with other rhythm devices in their hands - all poised through the silence of an opening meditation, waiting for the great experience to begin! And begin it certainly did! Deeply sincere devotees, startling them- selves to distraction with a bediam of clatter, pounding, and otherwise hard-to-imagine disjointing of the rhythmic forces that shape music. And how they worked at it! Over two labored hours! After, one motherly member confided with a gentle chuckle, 'T left wringing with anguish!" It was a tong time before this group tried another kirtan, The reason is obvious, isn't it? Too much too soon, True: kirtan instruments themselves are relatively simple to play. Also true: it is not simple to unify even a few playing together, without some pre- rehearsed method, understood by all the musician participants, Remember, chanting with only harmonium accompaniment for the voice, is a sensitive practice, vilnerable to inharmonious distraction of-2- any kind that might assault the ear, Naturally, care must be taken to minimize every distraction, from the very beginning of kirtan efforts, The instruments should be added step by step. Let us consider one effective way this can be done, SUGGESTED BUILDUP OF KIRTAN PLAYERS 1, The Harmonium Player - First, the chants should be well accompanied by experienced, strong harmonium playing. The harmonium player should have correct knowledge of the chant melodies, His or her playing should be with a relaxed, steady tempo. When kirtan instruments are added, the harmonium player has the responsibility of keep- ing good "time (unwavering tempo). There should be no reliance on the drums for this, Rather, the other instruments strengthen and deepen good time, primarily established by the harmonium player, 2, Drums & Hand-Cymbals - When a strong, steady harmonium player is present, effective kirtan is most possible. Then, two kirtan instruments, drums and hand-cymbals, are best added first. This initial trio should then establish a well~integrated technique, practicing together as a unit, An integrated sound from the unit should become second- nature before the trio joins a congregation for kirtan, (NOTE: Harmonium and drums alone, without hand-cymbals, can lead effective kirtan, } 3,_Other Additions - Finally, when the initial trio is ready, a khartal player or two can be added, if desired, (One usually enough.) However, khartal sound can be a distraction for chanting indoors; it is a good rhythm device for chanting in the open air, outside, Don't hesitate to omit Khartal, if it is distracting, As alternatives, tam- bourine or sleigh-belis have been found to be effective, played well, Remember, the goal is not "music," per se, The goal is interiorization and aroused meditative mood, with motivation toward concentrated practice of Kriya Yoga techniques, If any additional instruments distract from the goal of interiorization, omit them intelligently. TIME DEVOTED TO KIRTAN It is not advisable to kirtan unendingly for hours on end. Again, the purpose of chanting is to gather mental and emotional forces, and then to interiorize those forces in an integrated way. When this state of integration is accomplished - ideally, in a somewhat controlled period of time - the higher phase of silent meditation and Yoga techniques practice is most important, The goal is stillness. Don't lose the perspective, Once, two young monks wanted a place to kirtan with their brothers, all night long. But, within the monastic community, where to do this without disturbing others? A request was written to leaders concerning an empty garage on the premises, Soon, a kind but measured reply was received, The monks were to be praised for their fervour and enthusiasm, But then they were softly reminded that Kriya Yoga (Guru-given techniques of interiori- zation and soul-discovery), not all-night chanting, is the major technique to be emphasized, In other words, too much - even of a good thing - is not good, Chanting an excellent practice, but preparatory to the all-important practice of Kriya Yoga and'silent meditabome Ps P °°When kirtan itself is the purpose of the gathering, experience has shown that one-and-a-half hours is a maximum time advisable for the chanting, And that is itself a long session, best used well, Over that period, four to six or more chants can be used, Sometimes it is good to pause between chants, for a short meditation or further mental chant- ing, And always end with an extended period of silent meditation, Some have experienced that the good kirtan of just one chant over ten to fifteen minutes or so can be enough impetus for a good meditation, But usually, several chants are needed to satisfy the group desire for ample chanting, At this point, something should be said concerning "scientific chanting," a phrase intended to indicate an optional method of somewhat disciplined chanting, Scientific chanting is Eased-on a technique from ancient times in India, going from loud to soft chanting, then on to whisper and mental chanting, etc,, in a relaxed but controlled, aware manner, It is suggested that some attention be given to a method of this kind, not as an only method but as an alternative to straightforward vocat chanting only, More about scientific chanting at the end of this guide, WHEN IS KIRTAN BEST? Due to the longer periods of time needed for kirtan practice, and the limited time allotted to gatherings during which other purposes must be accomplished, not all types of gatherings lend themselves to Kirtan, It just would not be fitting to take up most of a one-hour period, intended primarily for silent meditation, with kirtan, At strictly silent meditation meetings, chanting is best accompanied only by harmonium, according to custom, Thus, Kirtan is best practiced at gatherings especially scheduled for fartan, Next best, kirtan is very helpful at long meditations of three hours or more, especially at all-day meditations such as those held at Christmas time by Self-Realization Fetlowship members all over the world, Another fitting time for kirtan is during satsanga (a social gathering, spiritually-oriented), At the appropriate tne during atsangs, a little kirtan can contribute warmth and vitality to the Breads festive atmosphere, WHO PARTICIPATES IN KIRTAN? it is good to remember from the start that which experience will eventually teach anyway: kirtan is not for everyone, Do not be disappoint- ed if only a few remain interested in this essentially devotional technique, especiatly among those who already practice a major (superior) technique of interiorization such as Kriya Yoga, In India, among the Vaishnava sects that originated modern-day kirtan practices, the advanced devotees do not encourage any but lovers of chanting to attend kirtan gatherings, They make a strict attempt to maintain one~pointed concentration by all who participate, It is not absolutely necessary to be this austere, but the point should be understood, Once kirtan sessions become established, it is better not to invite those who cannot participate with keen interest and enthusiasm,DRUMS - THE KEY INSTRUMENT There is a beautiful (I believe true) story told concerning a devotional saint of India, He wandered afoot throughout the [and on a life-long pilgrim- age. One day, he walked out of the forest into a humble village. On the ground near a thatched hut he observed some familiar shavings and roughly hewn shells, Quietly, he questioned a passerby about it, "Why, don't you know, sadhu ? Here lives the greatest tabla maker in our land," On hearing this, the saint became transfixed in ecstasy, radiating an interior joy. Later, he explained that his intuition had immediately related "greatest drum maker" to previous experiences of God-consciousness, induced by intense kirtan, accompanied by skilled Tabla players intoning the drums! heart-touching sounds, The reminder instantly opened the floodgates of inner blessings... Although other drums can be used for kirtan, Tabla drums are usually preferable, Not the least reason for this is its superior sound, obtained with a minimum of finger technique. (Very involved finger technique can also be learned,) As pictured below, Tabla drums consist of two drums, one for each hand, resting upright on the ground on cloth rings (for better resonance), The instrument is easily tuned over a range of at least three or four tones for the right hand drum, and an even wider range for the left hand drum, We will discuss this tuning below. Tabla drums, with tuning Mridangam hammer, rings on which drums rest, and head covers A few thoughts about why Tabla drums are usually preferable, In India, a long drum called Mridangam is often preferred for kirtan, Mridanga drums can be hung by a strap around your neck, held horizon- tally at waist level for playing. It is then the best drum for situations where - as in a parade - the Kirtan unit is on its feet and moving, In such situations, harmonium is usually omitted (in India, even kirtan with the players stationary is often performed without harmonium), with voice atone the carrier of metody.The skin "heads" on either end of the Mridanga’drums are similar in appearance to those on the Tabla pair. Accordingly, the hand and finger technique used by trained players for Mridangam is one adapted from standard Tabla technique. However, the long drum requires hand force exerted horizontally, while Tabla (resting upright on the ground or floor) allows a vertical manner of striking, with the weight of hands and fingers aided by gravity. A little thought will make it obvious that, to play Mridanga drums well - even passably - considerably more hand strength and facility must be developed. Whereas, even the beginner can quickly create some of the good, characteristic sounds of Tabla. Finally, the left hand Tabla drum is far more resonant and effective than the left side of Mridangam, And Tabla is more tuneable. For the beginner, the advantages of Tabla are perhaps more evident, considering the above factors, However, over and above these considera- tions, Mridangam is traditionally a favorite kirtan drum, especially in South India where a more rigidly classical influence pervades all stratas of both classical and folk music. In Northern India, especially in Bengal, Khol drums are very popular for Kirtan, their shells made of fired-clay. Khol can be seen to be a shorter, stubby Mridangam. (The shell of Mridanga drums is usually of wood. ) ‘These three drums, then - Tabla, Mridangam, Khol - are tradition- ally associated with kirtan in India, the drum being the key instrument for effective kirtan, BASIG TABLA EQUIPMENT (with accessories) 1, Right and left hand Tabla drums 2, Gloth rings on which drums perch during performance 3. Tuning hammer ) 4, Cloth covers for the drum heads (when not in 5. Carrying box or sack for drums and accessories 6. Light powder for hands and skin "heads," to absorb oils that tend to create stickiness Something should be said concerning the quality of Tabla drums, According to one professional Tablaist from Bombay, the best Tabla drums are made in Banaras and Delhi. (I import kirtan-kits from Bina Musical Stores in Delhi,) However, this perhaps changes with each generation, Being primarily a rugged, hand-made instrument, price alone does not necessarily indicate quality or lack of it, I once obtained a medium-priced, somewhat musty-looking Tabla set from Bombay that had excellent sound qualities, used on recording dates, Other similar models from the same firm in Bombay subsequently were found to be of lesser quality, though still good Tabla. In most instances, tightening the right hand drum sufficiently vastly improves the sound of the Tabla pair, When you obtain your set,tighten (raise the pitch of) the right hand drum (see tuning section, below) to what you hear as its best resonance, If you still are not satisfied, see if you can work up a third strap, wherever possible, onto the wood chocks that surround the right hand drum, Two straps are usually atop each chock, This tightens the skin head further, raising the pitch to perhaps a more desirable level, Once this is done, the straps are left this way throughout the life of the drum, ‘The most effective right hand drum, tightened properly, emits a most pleasant and characteristic overtone, above the main tone of the drum, When struck along the rim (see Stroke I for Right Hand, that follows), However, not all Tabla sets have this feature, It is part of the area of variation for this hand-made instrument. HAND-CYMBALS & KHARTAL Along with harmonium and ‘Tabla, the other primary kirtan instruments are hand-cymbals and Khartal, However, as already Tndicated, although’ use of khartal js traditional in India, my experi> ence is that they tend to clatter too much, distracting rather than help- ing the inward-directed purpose of kirtan,,, especially khartal of non- © KHARTA quality, tinny make. So, although - some instructions follow as to their use, it may be advisable to limit or omit khartal from your Kirtan unit, A little expetimenting with your Kirtan unit will soon establish the fact in your situation, (Remember: & drums alone can often provide enough “a added support for kirtan to take place.) oS As to hand-cymbals, you will find below only a few simple, easy-to-learn cymbal patterns, those which fit well with the Tabla Pattern "A" without HAND-CYMBALS getting into involved technique, Suffice fo say, hand-cymbal players should experiment with their own patterns, and be on the lookout to learn new patterns from others, especially visitors and transplants to this country from India, But in no case should new pat~ terns be played that do not blend with the patterns set by the Tabla player. This is basic, Tabla sets the patterns, with hand-cymbals and Khartal responsible for blending with Tabla patterns, Well-played, the pealing sound of hand-cymbats or pure bell sounds tend to awaken an inner vibratory response in the "deep spine," This can also prove true of good Tabla sound, the appeal of which is due to its "reminder" of vibratory sounds actually emitted by the centers (chakras) of life force in the cerebro-spinal axis, as taught in Yoga metaphysics,HOW MUCH SKILL IS NEEDED? Of course, nothing can compare with a well-trained professional drummer who is also a devotee of kirtan, one who commands a simplicity and subtlety of performance that is not intrusive, a player who can inspire without distracting from the goal of stillness and interiorization for medita- tion, But this is not so much a matter of technique ("fast hands"), Rather, it is a matter of talent with simplicity, musical satisfaction with two or three good, repetitious patterns, applied with sensitivity and taste, This comes more with heartfelt participation in kirtan than with intellectual study of a lot of classical technique that can in fact be detrimental to the purpose. After all, kirtan is not for "making music," but rather (if you will forgive my emphatic repetitions) to help interiorize for "sitting in the silence," with aroused meditative feelings and intensity of attention, Whereas music, as such, has the purpose of communicating to other ears some aesthetic content, kirtan is intended to assist toward a natural, deep interiorization for meditation, Of course, the playing of kirtan instruments should sound pleasantly integrated and be non-distracting, But only simple skills are needed, For the non-professional, it is better to avoid complicated study of manuals that instruct Tabla "bols" for classical use in ragas. This is simply extraneous to chanting purposes, — Creative devotees can "find" one or two basic patterns of their own, asIdid, Adding a few "relief variations for the end of four-, eight-, or sixteen-measure repetitious patterns, this can be sufficient for practically all kirtan needs. However, it may be helpful to listen closely to recorded bhajanas and kirtanas, made in India, From these, you may pick up ideas ToF new patterns That Will apply to your Kirtan efforts, Anything that will inspire experimentationand discriminating creativity, SPECIFIC CHANTS FOR APPLICATION OF PATTERN "A" (The reader is referred to "Cosmic Chants," by Paramahansa Yogananda, where all chants specified below are musically notated in full.) In compiling the 1963 edition of "Cosmic Chants (Self-Realization Fellowship, Los Angeles)," I took special care to establish a notation style most helpful to trained musicians, especially those looking to the notation for guidance in setting rhythmic patterns for Kirtan, Time signature markings (2/4 - 6/8 - 7/4 - 4/4 etc, ) were carefully placed, to indicate natural "strong" and "weak" beats in each measure, Thus, proper shaping of the chant melody is indicated, Readers with musical training should find "Cosmic Chants," therefore, most helpful for applying kirtan, though it will still remain to devise patterns of somewhat irregular proportion for the more complicated chants (""time''~ ise), such as "In the Temple of Silence," "Why O Mind Wanderest Thou, "Do Not Dry the Ocean of My Love," etc. Such chants should be attempted in kirtan only by the more skilled musicians, and even then are best left for ad lib performance with harmonium accompaniment only,Beginners may also find some difficulty putting to kirtan those chants which have one or two or more changes back and forth between 4/4, 3/4, and 2/4 time signature changes - such as "No Birth, No Death," "O Thou Blue Sky," or "Where is There Love?" Even chants that are 3/4 or 6/8 ime throughout the chant ("Who is In My Temple?" - "Thou Art My Life" - ‘Am the Sky"' - etc.) are not best for kirtan beginners, due to the nature of strong and weak beat placement in time measures divisible by three, However, this still leaves for kirtan beginners many of the most popular selections from "Cosmic Chants," those chants whose rhythmic shape is indicated by time signatures of 2/4 or 4/4 throughout the chant, "Pattern A"! taught below is especially applicable to these chants, listed as follows: INVOCATION TO THE GURUS —-I WILL SING THY NAME EVER-NEW JOY CLOUD-COLORED CHRIST, COME POLESTAR OF MY LIFE DOOR OF MY HEART LISTEN, LISTEN JAI GURU © GOD BEAUTIFUL AT THY FEET LIGHT THE LAMP OF THY LOVE SPIRIT AND NATURE 1AM OM OM KALI THOUSANDS OF SUNS WINK HAS NOT TOUCHED MY EYES TODAY MY MIND HAS DIVED WITHOUT MEDITATION MIND (first half only} COME OUT OF THE SILENT SKY (second half only)* ‘for the other half of the chant, harmonium accompaniment only, in ad Lib style At any time in Kirtan, the leader (usually the harmonium player) is free to choose for contrast and inspiration one of the other, more rhythmic- ally complex chants - led by harmonium accompaniment alone - before proceeding to another Kivtany This accomplishes a form of relief, perhaps needed due to the steady intensity of strict tempo during kirtan for a long period with the added rhythm instruments, TUNING TABLA DRUMS For use with "Cosmic Chants," (written in so many keys), I must express some indefiniteness on the matter of tuning Tabla drums. The ideal would be achieved when drum-tuning coincides with each key in which a chant is notated in the chant book, using primarily key roots and fifths, But, as so many keys are necessarily involved* in "Cosmic Chants," the Tabla drums just don't have enough tuning range to accomplish this ideal, To repeat, this ideal tuning would be (usually) to set the drum tones to key root tones and/or fifths as basic procedure, with variation from this procedure to other tones, dictated by (a) better drum tone- quality achieved through such variation and (b) the "special" melodic nature of a particular chant, *The keys selected for chants in "Cosmic Chants," by Paramahansa Yogananda were based on a medium voice range found to be comfortable for congregations in Self-Realization Fellowship Temples and ashrams. This range is the major 10th between G below middle C and B above middieOver the years, I have used various tunings, primarily due to differences in tone-quality with various Tabla sets, With one set, it sounded best to tune the right hand drum an octave above the very same tone set for the left hand drum, With another Tabla pair, I often tuned the left hand drum a major ninth below the right hand drum pitch, Then, in "tone-bending" the left hand drum stroke (see Stroke 1 for left hand, below), the pitch of this drum would rise to the octave pitch, below the right hand drum tone, This is a most pleasant effect, ‘The point thus far... become thoroughly acquainted with the sound of your Tabla set, experimenting intelligently with various tunings, It is not a matter of tuning, mechanically, to the roots and fifths of changing keys, Rather, it is a matter of initially tuning the drums in such a way as to achieve the best drum resonance possible, using tones common to the scales of various chants to be used, —— Experience and your facility in determining tones will solve it, Learn the keys for kirtan chants, Theoretically, familiarize yourself with scales, major or minor, for those keys - on which the chant melodies are based, REMEMBER: The choice of drum pitch is most harmonious when it coincides with some note of the scale, indicated by the key signature at the beginning of each chant, Roots and fifths are the best scale notes to tune to, where possible. But don't let "tuning" become a mental block for you, Just get started the best way you can. And refer back to these paragraphs from time to time, reminding yourself of the tuning goals, ‘The following instruction is merely general, referring to the method of raising or lowering the tone pitch for each Tabla drum, ‘The figure on the next page indicates directions for tightening (raising the pitch) of the right hand drum, tapping down on the braided ring, all around the drum. If not already secured, tap down on the wood chocks, under the straps, surrounding the mid-area of the right hand drum; this secures the tightened "head" better. If you know the tone you wish to achieve, tell the harmonium player to softly play that tone, so you can tune more quickly and accurately to it, (Or you could use a chromatic pitch pipe, inexpensively obtained at most music stores. ) To loosen (lower the pitch of) the right hand drum, reverse the direction of tapping the braided ring, tapping upwards into the ring, all around the circumference. When lowering the pitch, it is not usually necessary to loosen the wood chocks; concentrate on the braided ring, The basic instruction above applies also to the left hand drum, though this drum usually does not have wood chocks under the straps, Often, between playing sessions, the left hand drum head skin tightens considerably, raising the pitch, (The left hand drum usually sounds best when pitched somewhat low, yet resonant, well contrasted to the higher pitch of the right hand drum,) First, if the initial pitch is more than slightly high, take a drop or two (not too much!) of water on your fingers. Rub it into the white surface of the drum skin in a circular motion, avoiding the black spot, (This black spot is made of metal filings which easily rub off.) Massage the surface dry this way with palm of hand, taking about a minute to do so, This tends to electrify the skin, enlivening it and enriching its sound, The same is effective when done to the right hand drum, before tuning. This should itself lower the pitch near the desired tone. However,-10- if farther Lowering of pitch is needed, simply tap upwards into the under side of the leather braid, all around its circumference, To raise the pitch, tap down on top of the braid, all around it's circumference, NEVER tap on the skinhead itself, WARNING: Change of atmospheric pressure can "collapse" the skinheads, especially the left hand drum, This happened to me on a mountain trip, just prior to a kirtan recording session!! If you should experience such a collapse, obtain a length of 3/8" dowling at a hardware store, Cut off 2" sections. Insert one section under two straps all around the left hand drum, After all are inserted, push them down toward the center of the metal sides, This should tighten the skinhead back to playing condition, Before each playing session, even if you don't retune the drums, rub the skin heads for at least a minute, with palm of hand, putting a light powder - just a small amount - on the heads, to absorb the hand oils as you rub, and, later, play. Keep your hands dry for playing by rubbing powder between your palms from time to time, between chants, Raising the Pitch of the Right Hand Tabla Drum.= tt INSTRUMENT SETUP I know of no arrangement in assigning setup positions for kirtan instruments, that is truly preferable to others in all situations, Although it is acoustically best for the instruments to face a chant gathering, where an altar is present, players often object to having their backs toward the altar in order to face the congregation, (This can sometimes be solved by haff-facing the congregation, to one side of the altar, with backs toward a corner, away from the altar.) Consider setup optional. 1 personally’ feel that the preferable setup occurs when the drums are positioned immediately behind the harmonium, with hand-cymbals and khartal (if present) split to right and left of these two centered players, Harmonium, hand-cymbals, and khartal players have the option of sitting either on the ground (or floor) or on chairs, (When seated on a chair, the harmonium player rests the instrument on a stand or table, ) However, the Tablaist must at all times sit on the ground or floor, to properly play the drums, comfortably. On slippery floors, like hardwood or Linoleum, the rings under the drums may slide while playing, A mat with non-slide features, placed under the drum rings, will solve this problem, For two basic reasons, the Tabla drums should be perched on cloth rings during performance: (I,) the player can thus control and hold the drums in a more or less stationary position, not tipping over; (2.) on the rings, it is possible to tilt the drums somewhat forward, creating a better playing angle for hands and fingers, PATTERN "A" FOR RIGHT HAND DRUM In this basic kirtan pattern there are two ways you will learn to strike the right hand drum: (I.) on the outside circumference strip, using the right hand's first finger. (In numbering fingers, do not count the thumb as a finger. ); (2.) on the middle circular strip, using the tip of your second finger. We will call each of these ways of striking a "Stroke." Stroke L for right hand drum will require your greatest attention and practice, to master the excellent sound inherent in the stroke, This Stroke I constitutes the special right hand drum contribution to Pattern "A" from a rhythmic standpoint, Whereas, Stroke 2 for right hand will contribute more of the drum's tonal resonance, PATTERN "A" Stroke | for Right Hand Tabla Drum: Of the hand's four fingers (omitting the thumb), the first finger is used for this stroke, To achieve the sharp, strong sound required, the outside rim of the skinhead is struck sharply with the bony flat of the siagere at the Hirst joint, (See Figures & EE ne at the firet joint, (See Figures a, & b, next page) SEPARATE EXERCISE: To get the feel of it, practice the following on any flat, solid surface.’ Rest the heel of your right1 eyo25 pueH 348Ty +q oansta, T ay0NS Puen 34373 ee ana Right Hand Figure c. Stroke 212. hand on the surface, the fingers hovering just above it, With the heel remaining in contact with the surface, rotate the hand from the wrist, the fingers moving up and awayfrom the surface. Then, leading with a straightened first finger, throw the hand back down to the surface, "flick~ ing” from the wrist, At surface contact, primarily the first finger will hit (maybe the thumb, somewhat), with the other three fingers straight and raised, away from the surface. The sound at impact is made by the slight bone protrusion at the first joint of the first finger. Keep repeating this practice on any flat surface whenever you think of it, until the firet finger automatically does its job right. Remember, keep heel of hand in contact with the surface throughout the exercise. Transfer this Stroke I to the Right Hand Drum, The heel of your hand should rest over the near edge of the drumhead, fingers on top, thumb to the side, Hand and arm should be comfortably in line, with elbow somewhat raised, away from your body. In this position, perform Stroke 1, striking the narrow, outside strip of the drumhead with the first finger, at the first joint, On impact, the finger tip will extend out over the rim, The impact area (see Figure b.) ie at approximately "9 o'clock" on the circumference. Except for the straightened first finger at impact, concentrate on keeping the hand foose and relaxed, WRIST EXERCISE: slowly rotate the hand at the wrist, 12-15 times in one direction, then 12-15 times in the other direction, Massage the wrists. Practice... practice... practice. As soon as you can perform the correct hand and finger movement, without reviewing, earn the following Stroke 2, practicing it along with Stroke 1, on the Right Hand Drum, PATTERN "A" Stroke 2 for Right Hand Tabla Drum - Your hand position on the drum remains the same as for Stroke 1, above. A fuller tone resonance, less sharp, is now achieved by bouncing the second finger tip on the middle circular strip, next to the black spot, This should prove easy to learn, (see Figure c.) Although the sounds of both Stroke 1 and Stroke 2 can be made without raising heel of hand off the drum, you may find it easier to perform Stroke 2 by lifting the entire hand, the heel lifting from the drum, returning to position with Stroke 1, However, do the above wrist exercise, trying to loosen and use the wrist action as much as possible in your strokes, Practice Stroke 2 until it becomes second-nature, Then, at random, go back and forth between Stroke 1 and Stroke 2, listening closely to the alternate sounds, Accustom your ear to these sounds, After you have practiced Stroke 1 and Stroke 2 separately for a time, assuring yourself of the basic technique involved, put them together, as follows, accomplishing the right hand portion of Pattern "A", Counting 1-2-3-4, perform Stroke 1 on counts 1 and 3, On counts 2 and 4, use two strokes of Stroke 2 for each of these counts, Being double "hits," the strokes on counts 2 and 4 will be exactly twice as fast (in the interval between strokes) as your strokes on counts 1 and 3 (Stroke 1), See notation for Pattern "A" Right Hand strokes, below,13+ Stroke 3 for Right Hand Tabla Drum: This stroke will not be used in Pattern "A", ————_——_ However, because Pattern "A" includes this same stroke in the left hand, and it is so useful in creating new patterns, it is given at this time. Stroke 3, is a "damper" stroking, allowing no reso- nance from the drum, It is a slapping sound, used primarily for rhythmic purposes, Simplicity itself, to perform Stroke 3, maintain the usual hand position and "drop" palm of hands, fingers outstretched, onto the overall drum surface, permitting no bounce of the hand, Make it first a light, then a moderate, slap, accustoming your ear to the sounds, At random, practice Stroke 3, alternating it with Stroke [ and Stroke 2 in your practice, This should provide good sound contrasts, keeping your practice as interesting as possible at this point, Notation for Pattern "A" - Right Hand: Some abbreviated form of teaching —— ~~ specific rhythm patterns in writing must be devised, Hopefully, the reader has a little previous instruction in music fundamentals. If not, it is advisable for you to study any teaching manual for a treble clef instrument, just enough to learn how to count beats per measure, correctly and steadily, and to recognize and count correctly the rhythm value of half-notes, quarter notes, eighth notes, their "dotted" values, and corresponding rests, This should prove sufficient preparation for reading the following notation and any other included in supplements to this guide, You might want to consider taking a few private lessons from a guitar, violin, or piano teacher, explaining your need as being merely for those very fundamental points of rhythm theory, Public school courses in "fundamentals of music" or library texts on this subject can also prove helpful. To notate Pattern "A," I have devised the following system, We will use a "staff" common to all types of music notation in the West, consisting of five parallel lines, within which are contained four spaces, ‘Thus: (Divided into measures, Iwill assign the three strokes taught above for the right hand (as well as strokes for the left hand, taught below) to certain lines and spaces of this staff, Then, using the traditional time-values for notes placed on these lines and spaces, I will be able to indicate how to combine these strokes into Pattern "A" in a concise, abbreviated manner, Let us assign Stroke | for Right Hand Tabla Drum to the top (fifth) Line of the staff, Stroke 2 is assigned to the next-to-top (fourth) Line of the staff, Finally, we will indicate Stroke 3 by a cross ("x") placed in the fourth space within the staff, next to the top. Thus: Right Hand Stroke 1 (rests, Right Hand Stroke 2——|—y -~ Right Hand Stroke 3 ) Stems up indicate R.H, Stems down will indicate Left hand,-14- ‘The following notation illustrates four measures of Pattern "A" for Right Hand Tabla Drum, as taught above. Concerning measure 4, read the section below entitled, "Relief from the Pattern." PATTERN "A" Right Hand Drum 12 34 123 4 Count. Measure 1 Measures. Measure 4 2&3 {played the same as measure 1) IMPORTANT: When you have thoroughly tearned the above instructions, use this right hand portion of Pattern "A" to accompany your private chanting, as the ultimate practice in learning it ""second~ nature," Use the chants, "Ever-New Joy," "Listen-Listen," and "Door of My Heart" for this purpose, You will further discover that "Jai Guru!’ lyrics are closely matched by this pattern, CHANT VOCALLY, not mentally, while accompanying yourself, PATTERN "A" FOR LEFT HAND DRUM You have now learned Pattern "A" for Right Hand Tabla Drum, What follows are the left hand strokes that will be combined with the right hand strokes already learned, to complete the initial pattern, However, before combining the hands for the full pattern, thoroughly learn to play without difficulty or hesitation the strokes for each hand, separately, Pay strict attention to the special notation given for the strokes, New patterns in supplements to thie guide will be based on this notation system, PATTERN "A" Stroke { for Left Hand Tabla Drum: This stroke requires a «few words to teach, but good practice to master. Figure d, (next page) illustrates the entire stroke, Rest the heel of your Left hand atop the left hand drum head, near the close edge, in that angle which allows your second finger tip to strike the skin anywhere in the region marked "x,.,.x," in Figure d. For Stroke 1, with the hand up, heel resting on skin, flick the curved second finger straight down at the skin, Upon impact of its finger tip, curl the finger under and up toward the palm, away from the drum skin, allowing the drum to vibrate with its resonance, This deep resonance will be muted in rhythm by the following impact of Stroke 2, taught next, PATTERN "A" Stroke 2 for Left Hand Tabla Drum: To perform Stroke 2, Oooo merely drop the flat of your paim, with fingers extended, onto the overall drumhead with a Light slap. (As with Right Hand Stroke 3, above.) See Figure e, This stroke accomplishes two things. First, it mutes the skin vibration from the previous\Figure e, Left Hand Stroke 2 Figure f, Stroke 1 Tone-bending-15- Stroke 1, and, second, it creates its own rhythmic pulse at impact, Stroke 2 is simplicity itself, requiring only a Little practice. - However, watch that you "recover" gracefully from this stroke, in relaxed, unhesitating time to perform Stroke | again - without breaking the steady tempo. Practice carefully, Listen to the effect of three degrees of slap: light, moderate, and heavy. After you have practiced Stroke [ and Stroke 2 for left hand separately, for a time - assuring yourself of the basis technique involved - put the strokes together, as follows, Counting | - 2 - 3 - 4, perform Stroke t on count I, letting the drum vibrate with resulting tone from this stroke, through count 2, On count 3, use Stroke 2, This results in the drum being silent (resting) on count 4, Keep your count steady - without pause or rushing of the count - moving from one cycle of four counts to the next, without hesitation, Use a slow enough pace to accomplish this, NOTATION FOR PATTERN "A" - LEFT HAND: The following notation puts into ilfustration directions found in the preceding paragraph. Let us assign the notation for Stroke I to the first space (at the bottom) of the staff, As the stroke allows the drum to vibrate, notes will be used to indicate the duration of time for each stroke to resonate, Stroke 2 will be assigned to the same first space (at the bottom) of the staff, However, as the stroke mutes rather than produces drum sound, of duration, its notation will be a cross ("'x"!) rather than a note, occupying one beat of the measure. Notice also that Left Hand stroke notation includes stems on the notes dropping down from the markings, (Stems go up from markings for Right Hand strokes; see bottom of page 13.) Thu: Count 123 4 Left Hand Stroke [- Left Hand Stroke 2 |=". ‘The above notation shows a four-measure phrase, repeating the same left-hand pattern in each of the four measures, Practice until you can play four measures of Left Hand alone, without pause or hesitation - ina relaxed manner, Master the Left Hand strokes before attempting the following variation on Stroke L, TONE-BENDING Variation for Stroke [: This variation employs one of the —=———_—-—__—_ unique capabilities of the Left Hand Tabla Drum, one which yields a sound of heart-touching quality - the tone-bend, Few words are required to teach the technique, Then, practice makes perfect! As usual, perform Stroke | for Left Hand, as taught above, But then, immediately after impact, as the drum resonates, press the heel of your hand firmly down into the skin, creating a rise in tone pitch, Then ~ quickly but evenly ~ release this pressure back to normal, in time to perform Stroke 2 without hesitation, ina relaxed manner, See Figure f, on preceding page. Keep at it! You will use it a lot..-16- For indicating tone-bending of Stroke [ (Left Hand), I will assign the following symbol =) ~ placed under the notation for Stroke {(L.H.). You will find this symbol used in the following notation for completing Pattern "A," both hands together. NOTATION FOR PATTERN "A" ~ Both Hands Togethe: When you have thorough- ly learned the above instructions for each hand, complete your first Tabla Pattern "A" by mastering the strokes, both hands together, The following notation combines the previous notation for hands playing separately. The notation is extended to represent two complete eight-measure sentences, including two different relief patterns in the eighth and sixteenth measures, Practice until you can play such longer extensions of Pattern "A" without pause - with ease, zo ., —!'Ff >, 4 He ope nan oa ~ ~ When the above sixteen-measure extension of Pattern "A"' is learned well, move on to practicing the pattern for minutes on end... a. Keeping the tempo steady, without pause ~ fully relaxed; b, including "relief patterns in the eighth and sixteenth measures, etc, c. seeking an ever-deeper "groove" of rhythmic feeling; a, putting more and more "heart" into the momentum, out of which can flow the inspiration for new patterns - spontaneously - in the creative process. REMEMBER: Two or three shorter practice periods in a day are superior in long term results to one long practice session in a day, RELIEF FROM THE PATTERN The foregoing instruction leads to a strong rhythm pattern for kirtan, The same pattern can be repeated without variation through four-, eight-, and sixteen-measure extensions (and even longer) before some one or two measure variation is inserted - for "relief" from the pattern, One form of relief from the pattern occurs very simply when, in the fourth or eighth measure, beats two and three are [eft silent, This is illustrated in the above notation for both hands together - in the eighth measure, first ending, (See page xvi of the Introduction to "Cosmic Chants," for clarification of notation concerning first and second endings, repetitions, etc.) After this variation of one-measure duration (""relief"), in the ninth measure you return to Pattern "A," New "relief" is notated in the sixteenth measure, 2nd ending, with a slightly different but effective variation of added silence, Remember: relief is accomplished best through leaving beats silent and next best through a new pattern, perhaps syncopated (examples intended in a supplement to this guide), You can introduce a new pattern in the relief-t7- measure, or modify the previous pattern with silent beats, etc, Experiment to establish your own relief measure at the end of eight- measure extensions of Pattern "A," This will give you a small area to begin creative thinking, Usually, new and relief patterns come naturally, as you set a continuous, ever-deeper groove of relaxed practice, over many minutes of steady playing. Then, it just comes! Ina surge of energy from within! With this inspiration, you can be certain you have achieved a level of competent playing that will serve the goals of kirtan, From that point forward, always chant vocally with your practice, This further establishes your depth of pattern as second-nature, leading to more creativity, And as you are chanting yourself, you won't tend to "overplay" in some way that is distracting. ALWAYS REMEMBER: The key to excellence is... practice ALONE, This completes instruction for an initial Tabla pattern, directly applicable to Kirtan, Master it, And then begin participation in kirtan, You will need only a few more basic patterns, with several alternatives for pattern "relief" at the end of each eight- or sixteen-measure extension of the patterns, But one good pattern is sufficient to begin, applying it to the 2/4 and 4/4 chants listed earlier in this guide, It is planned that a short supplement to this guide will go into a few more patterns, along with various types of relief patterns and suggestions for progress into accompanying chants that alternate time signatures, PATTERN "A" FOR HAND-CYMBALS We will concentrate on two basic ways to play the hand-cymbals, in participation with Tabla Pattern "A." Each of the two ways has a preferable time for use, during the progress of a chant, as directed below. PATTERN "A" - Hand-cymbals Stroke [: To prepare for this most simple stroke, wrap the excess length of cord or thong (from which each cymbal hangs) around each hand and/or fingers, in such a way that allows you to grasp the thong or cord securely with thamb and near side of first finger, firmly against the metal, at the cymbal hole, In this way, hold the two cymbals ~ facing each other - close together at shoulder level, in front of you, (This is one of two holds for Stroke L, The other hold is outlined below. Counting 1- 2-3-4-1-2-3-4 etc. (steadily, without pause), strike the cymbals together each time you count |, allowing the cymbals to ring free through steady counts of 2- 3-4, If you are right-handed, in striking the cymbals, the short "thrust" is made with the right hand, glancing upward at impact with the almost stationary left hand cymbal, Practice this easy Stroke 1 until you can apply it with ease as you chant vocally, "Ever-New Joy" or "Listen, Listen," from "Cosmic Chants," by Yogananda, Learn to chant and play at the same time, This is important, The "hold" on the cymbals taught above helps to achieve a full cymbal sound on impact, To create a thinner, more delicate sound, hold the cymbals as follows, For right-handed players, let one cymbal hang18 from your left hand grasp of a three- or four-inch Length of its cord, With the right hand, grasp the other cymbal across its mid-line, holding its plane vertical, Then strike the hanging cymbal with the right hand cymbal edge, on count L, allowing the left hand cymbal to ring (as above) through counts 2 - 3 - Stroke I is generally more fitting as the stroke for a chant's beginning and then again perhaps when the volume and intensity diminish toward interiorization, However, feel free to use Stroke { at any time you feel it is fitting, PATTERN "A" - Hand-cymbals Stroke 2: Grasp the cymbals for full sound, as directed first, above, Stroke the cymbals together somewhat lightly, as follows, in the same pattern as that used for the Tabla right hand drum (Pattern "A"), Counting { - 2 - 3 = 4, stroke the cymbals once on counts 1 & 3, and twice on counts 2 & 4, The strokes on counts Z & 4 will be exactly twice as quick (in the intervals between strokes) as those activated on counts I & 3. Stroke 2 is useable at the player's option, but generally it is most applicable as the chant intensifies in volume and duration, IMPORTANT: While learning Stroke I and Stroke 2 for hand-cymbals, keep the pace of your counting slow enough to perform each stroke steadily, without having to pause because you are counting too fast, NOTATION FOR HAND-CYMBAL STROKES: The notation for both hand~cymbals a s and khartal will be similar, positioned on either side of a single horizontal line, using the standard notes and rests to show duration of each stroke, Notation for hand-cymbals will appear above this fine, Thus: HAND-CYMBALS, Be—_ Fe} —_ +f STROKE 1” HAND-CYMBALS STROKE 2, sau nioliain ing PATTERN "A" FOR KHARTAL A set of khartal includes two wood pieces with jangtes (see iffustration earlier in this guide), traditionally used in India, holding both pieces in the strongest hand, held by thumb and fingers striking the pieces together. It is suggested, to help eliminate excess clatter, that this be modified, using Kartal rather as "shakers," holding one in each hand - or better, playing only one piece with the strongest hand. This suggestion is based on no small amount of experience, with various kirtan groups,-19- Khartal is used most effectively as a device to create "momentum," laying back in volume at the beginning and end of a chant, but driving the chant intensity forward at the height of volume. While laying back in volume and intensity, the preferable pattern for shaking khartal along with Tabla Pattern " ‘once on each beat, thus: KHARTAL L 7 STROKE 1. Etpatatarth eee eee ATT 4 ‘Then, as the chant builds with intensity, switch to a "double-tim: shake, approximating the Pattern "A" right hand drum stroke, Thu! KHARTAL E A STROKE 2, [4 aaa aaah e arora HUE | chanting " or "Listen- Khartal players should also learn to play well, whil themselves, Practice alone, vocalizing "Ever-New Jo’ Listen," etc, This completes instruction in Pattern "A" for Tabla, Hand-cymbais, and Khartal, with corresponding notation presented individually, for each instrument, The following notation repeats what has already been presented, in a composite "score" form, similar to that which will be used in supplement writings, giving further patterns for the Kirtan instruments, Pattern "A" Composite for Tabla, Hand-Cymbals and Khartal-20- ‘Toward the beginning of this guide, reference was made to a method of so-called "scientific chanting," as a means to deep interiorization in a more controllable span of time than the usual Kirtan, But first, the beginner should learn the straightforward, customary method for vocalized chanting, In that method, mental chanting is taught as an optional practice, to be continued without the help of accompaniment, after group chanting has stopped... in the silence, This customary vocal chanting is performed usually at more or less the same voice volume throughout, In this procedure, each chanter is left to create his or her own depth of chanting through the power of devotion- al concentration on the meaning and feeling of chant thoughts (the lyrics) or on the chant rhythm, This procedure is simple and easy to lead, Maximum devotional benefits are possible through this approach to interiorization, The alternative procedure outlined below does not claim to add devotional benefits, Indeed, some will "turn off" at the idea of "procedure" in chanting, feeling there is no freedom of heartfelt expression in the presence of any kind of seeming regimentation (in an essentially devotional technique) as to "how" one must chant, These personal reactions are valid and must be respected, On the other hand, the following method is also valid and to be respected, being a long-honoured procedure itself, used in the performance of the ancient Saman chants from the Vedas of India. The method is further uggested in the preface of "Cosmic Chants," and extolled as a technique in "Scientific Healing Affirmations," both writings of Paramahansa Yogananda. Many of us have experienced often the method's capacity to quickly induce @ sense of stillness and relaxation in a comparatively short time. SCIENTIFIC CHANTING The phrase, "scientific chanting,' simply refers to the following levels of controlled chant concentration: (1) loud and softer chanting, moving to (2) whisper chanting, during which the melody disappears while rhythmic whisper chanting continues the chant lyric; then, on to (3) mental chanting during which the melody may resume in your mind, leading (ultimately) to (4) superconscious chanting, which is an absorption of the chant-thought into superconscious regions of our inner being, touching the Om vibration of sound and energy, deep within, Following this procedure only through whisper chanting to mental chanting (without superconscious experience) is enough to establish a dependable means for quickly inducing inner stillness and the meditative mood, The mechanics of the method involve absorption of feeling with intellect in a gradual diminishing of the outward vocal volume, through a transition of whisper chanting (without vocalized melody, of course, while pering audibly), and finally to deeper mental chanting with its result~ ing influence toward inner expansion, with accompanying relaxation, calm, and alert interiorization, Directly concerning kirtan instruments, a critical point while accompany- ing scientific chanting develops at the transition from vocal to whisper chant- ing. Up to that point, all kirtan instruments can participate helpfully.-21- However, with the transition to whisper chanting, khartal (when present) should completely drop out, During soft chanting, just previous, khartal volume should have diminished to a very soft Stroke I, But during whisper chanting, even the softest khartal sound proves distracting, So it should drop out. ‘The harmonium accompaniment should also fade out with the transition to whisper chanting. Its strong melodic support has served its purpose during vocal chanting. It is distracting during whisper chanting, and only rhythmic support is really needed at that point, and onwards, Chanters must be able to clearly hear their own softly-whispered words without distraction. Tabla leads the remaining rhythmic support, lightly but with unfading momentum, (This is vital, that "drive" from the drum should not fade.) Hand-cymbals must be played very softly using Stroke 1 with the second "hold," ‘Then, as whisper chanting fadesto the mental level (thie usually happens naturally, as each individuat feels a strong mental reflection of the whispered chant), the hand-cymbals should drop out, as_unobtrusively ‘as possible, leaving only the Tabla player to continue for mental chanting. ‘As Tablaist at this stage, I have found it sufficient to continue merely by lightly slapping the side-thongs of the right hand Tabla drum, in a semblance of my previous pattern, Or even just a soft rhythmic pat of hand on thigh, easily heard in the background stillness, Any light rhythm to support what everyone understands in the sifence as a period of mental chanting. Then, after a time, the light Tabla rhythm fades into silence also, Hold that ‘silence for awhile before resuming kirtan, Best, save scien- tific chanting for the [ast chant, followed by long, deep meditation, RRR ‘This ends the initial instruction for "A Beginner's Guide to Kirtan," Please write, expressing your thoughts about these instructions - especially results you obtain from them. Further instructionat supplement will be based on your response, DAN HART MUSIC SERVICES 361 Dap tay Mae Series vace ~ #104 Ba: jgi)'tyams Cow fr2FBinia 22041 Wicuaok vii 2101 Harmoniums and kirtan-kits are available, Please write (or telephone 703-671-5169) for current information, Hopefully, this guide will contribute in some small measure to the establishment of meditation and Kriya Yoga techniques practice in your life, in an ever-deeper, more heartfelt way, Certainly, the times are pressing this universal necessity, I, for one, cannot keep my experience just for myself, As a direct-disciple of Paramahansa Yogananda once said to me so touchingly, in response to a small service of mine, "We are here to help each other,"