Music & Subtle System

H. H. Shri Mataji has mentioned the relation between the subtle system and music in her talk “Atma Aur Sahasrara (Hindi)”

Relation between the subtle system and twelve notes

S Left, Central and Right Mooladhara (Immovable note)

R Left Swadishthan

R Central and Right Swadishthan

G Left Nabhi

G Central and Right Nabhi

G Void

M Left and Central Anahata

M Right Anahat

P Left, Central and Right Vishuddhi (Immovable note)

D Left Agnya

D Central and Right Agnya

N Sahasrara

N Sahasrara

Left channel is related with all flat notes S R G M P D N S

Right channel is related with all normal and ‘M’ sharp notes S R G M P D N S

Central channel is related with all normal notes S R G M P D N S

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Definition of Thaat

The name Thaat is given to that group of Swaras which produce Ragas. Naad produces Swar, Swar Octave and Octave produces Thaat.

From the following couplet made by scholarly Pandit Bhatkhande we can easily remember the names of the Thaats –

“Yaman, Bilawal, and Khamaji, Bhairav, Puravi, Marav, Kaphi, Asa, Bhairavi, Todi, Bhakhane Dasha Mita Thatha Chatur Gunmane”.

1. Yaman or Kalyan Thaat S R G M P D N S

2. Bilawal Thaat S R G M P D N S

3. Khamaj Thaat S R G M P D N S

4. Bhairava Thaat S R G M P D N S

5. Purvi Thaat S R G M P D N S

6. Marwa Thaat S R G M P D N S

7. Kafi Thaat S R G M P D N S

8. Asawari Thaat S R G M P D N S

9. Bhairavi Thaat S R G M P D N S

10. Todi Thaat S R G M P D N S

RAGA

The word Raga is derived from the Sanskrit root Ranja (jbpe) meaning to please, to be agreeable. Technically Raga means a sweet combination of musical tones coming one after another in succession.

The Raga is made of that sound in which there is a specific Swar construction and also the Varnas which increase its beauty, which entertains human spirit and minds of the listeners become pleased and jolly.

Indian Classical music is based on the raga system. The content of the raga is completely improvisatory depending upon the virtuosity of the artiste. There is a great deal of resemblance between the moods of nature and man. All knowledge was imparted orally in ancient times in India. The Vedas, the Manusmriti, the Puranas, the Shastras, etc. were composed in hymns, in verses and these verses were taught and memorised in musical chants. The musical settings of Vedic hymns were later on developed into musical modes and thus we have the Gramas (Gamuts), Moorchhanas (modes) and Jatis (melodies) which were the basis of ancient system of music. The mantras of Rigveda were set to musical modes. These along with some other hymns were together known as Samaveda, when they were sung in musical passages. The Jatis were further developed into what we know today as Ragas.

Aroha : In an Octave when the notes are arranged in order so that each note is higher than the preceding note it is called Aroha which means to ascend. In other words ascending the ladder of the octave is Aroha. For instance – S R G M P D N S

Avaroha : Avaroha means descending. Descending the ladder of the octave is Avaroha. For instance – S N D P M G R S

The Rules of the Ragas –

1. There should be minimum five Swaras in a Raga.

2. Raga should come out of the Thatha.

3. The frequent use of Shuddha Swar followed by Komal Swar is not musically fair. e.g. S R R G G M

4. Varnas are necessary and essential for Ragas.

5. There must be S (Shadja) in every Raga.

6. Every Raga must have Vadi, Samvadi, Anuvadi.

7. The Raga in which Madhyam and Pancham together are not used cannot be a Raga at all. For example –

S R G D N S this Aroha or Avaroha cannot make a Raga.

VADI, SAMVADI, ANUVADI and VIVADI

Vadi, Samvadi, Anuvadi, and Vivadi are strictly bound by musical rules. The rules are very important there. This can be better explained by a multiple metapher – VADI to King, SAMVADI the Minister, ANUVADI the servant and VIVADI the opponent or Enemy.

VADI – Vadi Swar is that which is often used in Raga.

SAMVADI – That Swar is called Samvadi in which the use of Samvadi Swar is less than Vadi Swar and at the same time more than any other Swar, Samvadi is always in the help of Vadi.

ANUVADI – In addition to Vadi and Samvadi, Swaras which are used in the Raga are called Anuvadi.

VIVADI – It is the Swar that spoils the Raga and which should not be used in the Raga is called Vivadi.

The Swar Vadi occupies an important position in a Raga. It is almost its life. The time point of any Raga can be understood by Vadi Swar. When the Vadi Swar changes Raga itself changes. In some Ragas the Swaras, the Arohas and the Avarohas can remain the same, but the Vadi & Samvadi Swaras must be mutually different. This gives rise to different Ragas.

The subtle system and Ragas

Channels

Left channel – Miyanki Todi

Right channel – Maru Bihag

Central channel – Jog

Chakras

Left, Central and Right Mooladhara Shyam kalyan

Left Swadishthan Gujri Todi

Central and Right Swadishthan Yaman

Left Nabhi Bhatiyaar

Central and Right Nabhi Abhogi

Void Malkauns

Shri Lalita Chakra Jogkauns

Shri Shri Chakra Shree

Left Anahata Bhairav

Central and Right Anahata Durga

Left, Central and Right Vishuddhi Jaijaivanti

Left Agnya Bageshri

Central and Right Agnya Bhup

Sahasrara Darbari and Bhairavi

When the Kundalini rises, it makes sounds and sounds that I heard in the different Chakras can be pronounced in the following way. These pronunciations are being used in the phonetic language of Devnagari, which means language spoken by the Devas.

Chakra Sounds

• Ø Mooladhara Wa, Sha, Sha, Sa
• Ø Swadhishthan Ba, Bha, Ma, Ya, Ra, La
• Ø Manipur Da, Dha, Na, Ta, Tha, Da, Dha, Na, Pa, Fa
• Ø Anahata Ka, Kha, Ga, Gha, Ga, Cha, Chha, Ja, Za, Nya, Ta, Tha
• Ø Vishuddhi A, Aa, I, Ii, U, Uu, Ru, Ruu, Lru, Lruu, E, Ai, O, Ou, Am, Ah
• Ø Agnya Ha, Ksha
• Ø Sahasrara One becomes thoughtless and no sound is made but the pure Anaht, meaning the throbbing in a purest form and in a heart is A, La, Ta, La, Ta, A, La.

Bija Mantra

As a tree lies in seeds, in the same way the power of Mantra lies potentially in a Bija mantra. As a tree comes from seed, likewise the whole mantra evolves from Biji Mantra. And being so, the Bija Mantras are considered as a source of creation. From the realization of the potencies of these vibratory Bija Mantras, the Rishis devised Mantras, when properly intoned, the Mantras activate these creative forces to produce the desired result. Divine protection and guidance are general characteristics of all seed mantras. Each of them has its own specific transformative power. In their anthropomorphic forms these forces are Deities—Gods and Goddesses—and Bija mantras are their sound forms. Bija Mantras contain the potential of the Divine to manifest into the grand tree of spiritual illumination. They are like engines pulling a train, and for this reason they are often called Shakti mantras. Om is the Bija Mantra of universal consciousness.

All the petals in all the charkas have a particular letter which was seen and heard by the great Rishis in the of Meditation. The letters are charged with the specific power of that particular petal and so when chanted, give the desired result. That is the power of that particular chakra.

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