Rhythm-ताल

1- 1983 Delhi https://www.amruta.org/1983/02/02/vishuddhi-chakra-delhi/ [] https://www.youtube.com/watch?v=FFlAHQKftQA 39:39 [] https://www.youtube.com/watch?v=e4PpK1D1e7g 31:55 … “The sense of music – this depiction of music was done by Shri Krishna. It is HE the One who taught taala ताल. Of course we can say that Shiva is the One who dances the taala, but the One who depicted it for human beings, who gave the message to the world how the taala should be is Shri Krishna, through His dancing movements. He kept the taala all the time. Like the way He stands itself suggests how He kept the taala. And He played the murli मुरली (flute) also, to suggest that music is what God’s love is. His music is suggestive of God’s love that soothes you, that clears you, that makes you happy, that gives you joy. And that’s why – “He suggested through His singing, through His music. He never wrote any poetry, did He? He never wrote any poetry as such but when He spoke, when He spoke in Gadya (गद्य), in the prose, it became Geeta. Just when He spoke it became Geeta गीता.“ Of course, people have tried to spoil quite a lot of it, the rhythm, which I feel sometimes when people recite it. But still we must say when He really created it, it was for human beings to create poetry out of prose. Out of prose He made it communicable. Because people could, first, only understand the music, the rhythm of the music. They didn’t understand much words and things. But He made it possible.

Even in Koran, if you read, the few words before starting every chapter nobody understands. They are all nothing but Mantrabijas. But they put it there. They knew people won’t understand, but He put it there because people would understand. All these things you may not understand. You may not understand Me either, possibly, but whatever they did was for your hita हित (hita-benevolence). This is what happened, at the time of Shri Krishna that He established the concept of hita.” …

2- 2008 Pratishthan https://www.youtube.com/watch?v=LwufAcHwSPs  [] https://www.amruta.org/2008/02/10/shri-ganeshas-birthday-pratishthan-2008/  … “Shri Ganesha is whom we worship … His special quality is that He is the embodiment of purity (shuddha swaroop) and complete Master of the Universe. He is the incarnation of the Supreme, of Brahman. By coming into this world He has created music (sangeet), rhythm (taal) and notes (sur). By His Grace only people become one(talleen) with music . A small boy who came into the world and did such great work! He has given so many things to everyone and even today He is active. Shri Ganesha’s Puja, no matter how much you do it, it is not enough.

[श्री गणेश हमारे आराध्य हैं. … उनकी विशेषता यह है कि वे शुद्धस्वरूप, पूर्णतया ब्रम्हांड के सारे स्वामी हैं. वो अवतार ही ब्रम्ह का है. और उन्होंने दुनिया में आकर संगीत, ताल, सूर सब बनाया. उन्ही की कृपा से लोग तल्लीन हो जाते हैं. छोटासा बालक दुनिया में आया और उसने इतना कार्य किया, और इतनी सबको चीजें दी, और अभी भी आज वो कार्यान्वित हैं. गणेश की पूजा जितनी भी करिये कम है.]” … Shri Ganesh-jayanti Pratishthan

3- 1984 Bordi/India  https://soundcloud.com/sahaja-library/1984-0213-bordi-puja-2   Shri Mataji tells in Marathi – “ You shouldn’t say mantras in a gruelling manner. While saying Mantras we should maintain the speed and the rhythm too. It sould be little faster. If you say Mantras as if when someone is dragging something, then it’s of no use. Say the Mantras effortlessly.. properly.”

                                                                                                       

(Geet = song, lyric & Welcome song = Swaagat Geet स्वागत गीत)

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4- 1985 music & bhajans https://www.amruta.org/1985/05/04/ep-before-sahastrara-puja-and-after-nirvikalpa-talk-1985-laxenburg-vienna-austria/

1:01:50 [After the Bhajan/Amhi bi ghadalo/] Shri Mataji:-

“Wah wah.. gets into the mood. Wah wah! And you see your vibrations also.. because when you beat yourself, three is Trigunatmika त्रिगुणात्मिका. See now the vibrations .. Hmm! Sahastrar! (Shri Mataji shows the clapping) You see, you are hitting the Sahastrara, left Sahastrara with these fingers and three times is Trigunatmika. So you achieve a lot. …”

[Bhay kay taya- Shri Mataji explains the meaning]

 

1:26 [After the bhajan/He AdiMa he AntiMa]…Shri Mataji:- “Do you know the meaning of this one?

(Yogis: We have the translation.) Oh, I see. But one thing is there now, you see. It has to be rhythmic. Otherwise, if it is not proper rhyme and also in a proper rhythm, as you say taal [ताल], any music, say it’s English, it’s western, whatever it is, it has to have that link. In the western music, whatever was composed they used to use beats I think in the olden times. But in the modern times there are no beats. There is no maryadas, nothing. So in our Sahaja Yoga songs we all must have maryadas, you cannot just sing something without any beat in it. You must definitely have beats. If it is a 4-beat song or it’s a, I don’t know how many beats you have, but we have at least 28 also, I mean ours is overcomplicated. But doesn’t matter, you need not do that, 28 is too much. But up to 16 is simple. So it must be in beats first of all, and the tune should be such that it should form a melody. That’s important. Because any tune anywhere, going anywhere, moving anywhere, you see, this kind of composition takes your mind from this to that.. to that.. to that. But if it’s a melody, so you come back again on the Sam (सम)– on the same point, again on the same theme, you see. And when you come back on the same theme, it’s something like your attention is on your spirit. The same time. So the music now, whatever you compose should have a rhythmic movement, which should not go out of rhythm, you see, should not. So you should be able to make it into beats. But I like this new thing that you have. In that one is, what you call that? That you use.. Ha, Guitar! Guitar is the one thing I see, that it gives you that beat. And in all modern music, I’m very happy to know, they’re very particular on the beat side. That’s very important, because beat gives you the balance, it gives you the discipline of the music, it makes everybody sing all right and it keeps you in proportion to the whole music. Otherwise, one goes like a long tail of kangaroo, another one goes like a small little tail of a rat, then another one… You see, it is not easy to follow such a music, people get confused. So because our music is for the masses, our music is not for a only few connoisseurs, you see, it is for the masses. So it has to be in rhythmic built, in such a way, that the taalas or whatever you call the beats, have to be properly done and that’s why the modern music is so much appreciated. I tell you, there is nothing in this so called modern music, but is the rhythm with which they capture the heart. And the rhythm is Anahat [अनहत], it goes with the Anahat. Heartbeat is the beating of the Vani [वाणी], is the beating of the force within you, which makes the sound. And that’s why beats are very important and as you know, that it is described in the Devi Mahatmya about Me, that very particular about taal. Taalabaddha [तालबद्ध]– tied in the taala. Because we have to deal with Spirit, which is in taal, always. So you should not go out of tune, you should not go out of taala also. So, whenever you compose any music make it a taal, some sort of a beat. Keep to that beat, is better to have the Guitar, is a good idea. For that keeps you in the same rhythm and you will see that it will be much more appreciated in the masses than a sort of a, I mean we don’t have few people, now we have many. So to appeal to the masses, we have to have music that will have a rhythmic building up. Taalabaddha [तालबद्ध]. And you will see people will appreciate it very much. I’m very happy it’s working out so well and last time in the Easter the people from.. in Birmingham, played that kind and it turned out to be very nice. You must have heard about, turned out very nice. So let us start with that kind of a tunning. Build your music on the guitar style, have beats there. You will see that it will make a kind of a movement of the Kundalini in a proper way. Because poor Kundalini does not know what to do now, it moves like that, then it suddenly comes up, then goes… So these are different times and according to that times we have to compose our music, all right? None of the English people are here with any music as such I see, what has happened? The one who sang there, because you must keep the guitar on, always. (Yogi:-Yes, I have this here.) Yes, you should. You can’t use it for Indian music! You can. (Yes I can). Very easy, I mean it’s just the same. It’s very good, it keeps the rhythm on. Guitar must be there. Like a tabla, but tabla is more complicated as you see, that it has got so many [beats] But Indian music cannot be without rhythm. First of course they’ll have the Vistara [विस्तार]– the expansion. But then, it must be beat. Anybody who doesn’t play with taala is not regarded as a musician in India. You must have taala. Because it has something to do with Shiva, it has something to do with your heart, it has something to do with Sahaja Yog. You have to walk in rhythm.. ha, you tell that. [Gregoire translates…] Moreover, you see, when the Kundalini rises she makes the music. Because, Sa– Re– Ga– Ma- Pa– Dha– Ni– Sa, you see. She makes the music when she rises, into the seven notes and at the Sahastrara it is Ni, just imagine. In our Indian music we call it Ni, before the, which she comes to the final side. So these seven notes are played by Kundalini and the taala is done by the Spirit. … So now if you start singing this sarone and all that left sided, you start flowing; then you start playing some sort of a song on the right side of aggression, then you start moving on the right, then onto the left. So that’s not the way, we have to move with the melody in the center and with the taal. So the Kundalini dances properly. … This is what we have to realize, that we are Sahaja Yogis and Sahaja yogis cannot have all kinds of patterns. Now we cannot have also primitive music of the, I would say of the jungles, like dham dham dham…, like that, we cannot have. Because that may be for the bhoots. It should not be frightening, that one thing is important. Should not be frightening, but it should be Divine. So that, it is blissful, it is satisfying and also giving you assurance. … Moreover the music should not be like, ki-ki-ki, again stop, ki-ki-ki, again stop, see that’s not proper. Because there should be continuous flow of the Kundalini, otherwise she doesn’t understand. … Let’s say, it should be continuous music, but of course if the stanza is there you can have a little pause. But it should not be that you are breaking every note. Stanzas can be separated but not every note. It must merge from one to another. Like one, from one chakra to another chakra it should merge, from one sentence to another sentence. But once you have come to a stanza, means you have done one rising, then for the second one, again the same style. But it should not be that somewhere you go straight very fast, then just stop for nothing at all. … So it should be purposeful music, it should not be purposeless, just played for fun or just played expressing something, some sort of a funny experience. It should be the experience of the Spirit, expressed in a most purposeful manner. … Then only you will see that your Kundalini itself is reactive. … And the Kundalini of others also will react to it. … So what is the end of it now, let’s have one more? End of it. (Yogis-The last one, we can sing all together Jay Jagadambe). All right, on the… not without the harmoney. This is the praise of God and when you are praising the God you have to use all instruments. You have to use all styles, but keeping to the maryadas that you are praising God. It’s a very nice [भैरवी राग] Bhairavi rag for the ending of (music program), it’s a very good song also. But just now my throat is out, but I’ll teach you later.”…