Mridanga Book by Bablu Das

(1)

Jaya srila prabhupada

introduction of basic Mridanga book

pure Goudiya vaishnava basic style of

Music According to Acariya”s.

this book is not available any place,

only available from (bablu das) international Music

teacher, be long”s to in iskcon 18 years teaching

Mridanga,

if any body interest to Make a audio and video

recording so then it is possible contact with (Bablu das)

Preface

in this dark age of Hypocrisy and quarrel sri caitanya Mahaprabhu distributed love oe Godhed and showed every one the most subline way to transcendental the bondage of Matter and Enter in to the Spiritual Sky. even if one dose not recocnize sri caitanya to be the Supreme personality of Godhed , one who has knowledge of his life and teachigs can never fall to oppreciate him as the greatest personality the the world has ever seen.

His divine greace A,c, Bhaktivedanta swami prabhupada, not only introduced sri caitanya Mahaprabhu and his teaching”s to the word our side of india, but convinced thousands of since souls to become sri caitanya”s dedicat followers srila prabhupada him self spread the Glories of the lord through his writing, no one has ever written so many profound

literature in such a short span of time, (about eight volume in ten years) he knew that in this age the written word world be the best means of propagating the spiritual massage of sri caitanya Mahaprabhu,

there fore e instracted his followers to distributed his Books and to write as well. By srila prabhupada advice I am very interest to write all the Devotional Books on (specialist on the Traditional Goudiya vaishnava Music) I like to calecting more things and print Books and distribute to the people”s to explaning what is meaning of thetraditional Music, because many people even Devotee are playing speculation Mridanga and singing, Krishna will be not pleased on them.

if we look (sastra) then we an understand more clear , then we can”t play any speculation beat on the Mridanga, also singing, so it is my Great service to explain to the devotees, I

hope every years I can print new Books specialist on Music, there is 24 hours in a day Krishnas pass times going on every each hour gose meny different (ragas and raginis) so we have to sing of the song by specific time, of the song, ather wire it is offence, so I am going to write next adition Book about (raga and ragin”s) so who ever interest to learn specific raga and raginis so then you must get that Book, so for that I need halp from the dvotees,

this Book is written by (Bablu das) international Mridanga teacher be longs to in (iskcon) 19 years, 16 years in Mayapur dham and 3 years in Brindavan dham.

this Book is not available in the world, not part of this book be reproduced stored in a retrieval system, or transmitted in any form,by any means including Mechanical

Electrical ,photo capying,Recording, or ather wise without prior permission of the Outhor.

first edition printed in 1992-1993 second edition printed in 1994-1995 third edition printed in 1996

Fourth edition printed in 1997-1998

Bablu das

First paragraph,,,,,,,,,,

For teaching Mayapyr Bhaktivedanta Guru kula 16 th years I thought mridanga. presently I am teaching at the International Bhaktivedanta Swami guru kula vrindavan dham, it is very important to learn traditional Goudiya vaishnava Music from a teacher. Second paragraph,,,,,,,,,,,

also available are 60 minute many tapes with this Book, where you follow along with this Book to Demostration the correct Mridanga sound,

third paragraph,,,,,,,,,,,,,,,,,, (2)

(3)

if any body is interested to recording Traditional Goudiya vaishnava style of mridanga to teach or make a video cassette I am available for that. please contact with (Bablu das)

Sri Mridanga pranama mantra

Mridanga Brahma rupaya labanam rasa madhuri sahsra guna samyuktam namo Mridanga namo namho,

namo Baladevaya namo namho. Translation,

un to the supreme Brahma formed as the clay drum infused with the mellow sweetness of graceful enchantment and anddowed with thousands of transcendental qualities, I bow down again and again to the Mridanga.

Sri Mridanga pranama mantra,,,,,,,,,,,,,,,,

Namo Jagannatha sutaya namo Mridanga labanam rasamadhuri sahasra guna samyuktam namo Mridanga namo namho,

namo Baladevaya namo namho. Translation,,,,,,,,,,,,,,,,,,

I offer my respact full Obeisances unto the son of Sri Jagannatha misra (SriCaitanya mahaprabhu) I offer my Obeisances unto the Mridanga, from which sweet and nectarean sound emanates I offer my Obeisances again and the Mridanga which has Thousands of good qyalities and I offer my Obeisances unto the lord Baladeva,who assumes the form of the mridanga to serve lord Caitanya.the ( Caitanya caritamrita) explains how lord Balarama expands into Ananta sesa. lord Balarama is thus called lord sesa. for he was attained the ultimate end of serbuted to krishna takes many forms for the service of Krishna and thus he service the lord, he serves lord Krishna assuming all the following forms umbrella, slippers, beding,pillow, germinates, resting chair, residence, sacred thread and throne,(C, adilila 4,123

Mridanga

clay drum the khol ( mridanga) only made of clay and if a drum is made of any substance other then clay, it can”t be called a khol , kirtana is not completely pyre(visuddha) without being Accompanied by the khol , the Mridanga speak the syllables (dhik tan dhigen tan) panditas of ancient times have indicated that when the mridanga makes bol it is codemning the material world by saying to those people who have no Devotion for the lotus feet of the son of Yasoda, to those whose tongues are not lovingly attached to speaking of the transcendental qualities of the veloved of the cowherd girls, to those whose cars are not found of hearing the Katha of the charming qualities of sri Krishnas divine pastimes, fie unto them, fie unto them, fie unto them. thus speaks the Mridanga during kirtana it is understand that during kirtana when this bol is heard being spoken by the Mridanga such persons (as mantioned) avove are being condemned , wheres other are being Auspiciously engaged in Hari nama sankirtana.

y the use of the Mridanga, this benefit is achived. traditionally in kirtana only the Khol and karatals are used because they are easily available playing these common instruments.all classes of people even then most destitute can enjoy the bliss of Bhagavat sangita. when music is made with the khol and karatals combined a mohini sakti (potency of

enchantment)

is produced that is naturally able to intoxicat the mind, the sound of the khol creates Auspiciousness axactly like the sound of the conch shell. in auspiciousness canot remain where ever the khol and karatals resound.in Krishna lila the Gopis play a drum similer to the Mridanga but it is called a Mridanga, this drum is the same shape as a Mridanga but it is made of wood.

and the small head is slightly langer in diameter , the Mridanga is a very populer drum in temples though out south india such as Tirupati, Balaji, Dukhini das disciple of srinibash acariyas wrote a wonderful Bhajans where in he mentions the instruments played by sri mati Radhikas asta-sakhis song by Dukhini das,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,

Lalita plays vina.

visakha plays the Mridanga,

Tanguvidya plays vina/ pinak/ saptasara.

Indulekha plays esraj, mandira, (fingersymboles)

Citra plays seterlike vina, kasa gong.

Campaklata plays Sarengi, Tambura.

Ranga devi plays bell, ghanta,

Sudevi plays karatals.

this eight instruments are spiritual and it is necessary for us to learn these eight instruments all ather instruments are emotional rether then Devotional .

the following populer story explains the appearance of the Mridanga in Gour lila, befoure coming to this world as the Golden avater, lord krishns said to hid flute my dear flute I am descending again to the material world but not in this form you should stay here with

Radharani to pacify her.

I promissed to Radharani that I would not take you with me, on hearing this my dear lord Krishna now how can you leave here along ,I have always been by your side but now you are neglecting me, what have done to deserve this ?

Krishna replied compossionately that he would bring him along but in different form , the flute did not mind,changing his form, as long as he could remain engaged in Krishnas personal service.

in this way the flute transformed in to a Mridanga, and descended to this world eight sri caitanya Mahaprabhu the mridanga is not on ordinary Musical instrument, being the incarnation of Krishnas flute, it is very dear to lord Krishna the Mridanga like all of the lords

parphernalia , is also completely spiritual since it is on expansion of lord Baladeva.

Acariyas there fore consider it offensive to play speculation there is a story in this connection relating the disastrous effect of singing,

incorrectly this can also apply to playing the wrong or speculated beats on the mridanga once Narada Muni had learned the art of

singing, he went to the heavenly planets and began singing the words were good, but the tune and melody were incorrect. Sura, the demigod of melody, was preset in that (4) celestial assembly. He actually became physically deformed from hearing Narada’s singing and others felt pain in there hearts. some one told Naradas my friend your

improper singing has caused sura and all of the beautiful singers present here to become Ugly and deformed.

you should immediately go and learn the art of singing correctly , Narada learned how to sing the appropriate melodies from

then all the residents regained their original forms. after this Narada become the worlds foRmost preacher of beautiful devotional songs. Narada muni bajay vina Radhika ramana name

nama amani udita hay bhakata gita same. Translation,,,,,,,,,,,,,,,,,,,,,

when the great soul Naradamuni plays stringed (vina) the holy name of Radhika ramana descends, and immediately appears amidst the kirtana of the lords devotees (gitavali)

Mridanga badya sunite mana abasara sada yache Gourabihita kirtana suni anande hridaya nache. Translation,,,,,,,,,,,,,,,,,,,,,,,,

my mind ever longs for the opportunity to hear the music of the Mridanga upon hearing the kind of kirtana ordained by lord Goura chandra, my heart dance in ecstasy

(saranagati)before playing the khol one must offer instruments (yantradrstata devata) then one should practice the vamas.

or specific letters of the alphabet that correspond to perticular hand and fingers stroks upon the heads of the drum, the musical sound articulating ka,ga.gha.and so on with voice while hitting the corresponding sounds on the drum should be exercised before playing anything else,

just as a singer has to regularly practice singing the scale,

sa,re,ga,ma,pa,dha,ni,sa, similarly it is necessary for a Mridanga player to regularly practice the vamas, with much practice in this system and by (guru kripa)

one can learn sweet Music then devotees will declare it is just like the khol is tolking.

Harekrishna

I

ndian classical music has a distinctive spiritual origin through the help of divine Bhajans and kirtana galore. supreme lord krishna has been glorified in legend and song to need to synthesize melody and rhythm has brought the Traditional art of playing the ancient vedic classical instrument the Mridanga to the fore.

primarily through their transcendental inspiration enthusiasm and mercy of our spiritual preceptor, our founder acariya srila A,C, Bhaktivedanta swami prabhupada .the jays of playing and singing traditional indian Music have been brought to the western world and increasingly experienced by thousands of people srila prabhupada him self. and acclaimed expert in the art, desired every one to learn the blissful art of playing the mridanga through the time honored vedic traditional and thus cultivate pure love for krishna .he there fore specifically requested that thousands of mridanga be produce for this purpose the seeds of this transcendental desire are now bearing fruit, thanks to srila prabhupada special mercy upon us. (5)

in this book we seek to offer guidance halp and encouragement to the many thousends who desire to partake of this transcendental technique of playing the mridanga and acquire swift proficiency in this wonderful classical instruments.we humbly invite you to sire the jays of playing the Mridanga and please krishnas Transcendental senses , and to helping fulfilling the cherished desire of our eternal acariyas, his divine greace om vishnupada paribrajakacariya srila Bhaktivedanta swami srila prabhupada to whom we are permanently beholder in this humble endeavor .

Introduction

it is very important to state that mridanga is not an ordinary instrument it is very dear to lord Krishna and it is completely spiritual it is the incarnation of Krishnas flute in caitanya lila and it is considered non different from Baladeva,

it is very important for devotees of lord Krishna to learn to play this instruments every one can learn it is an offering of love and by perfect playing one can get krishna pleasing the devotees by your playing you may their receive mercy Krishna and will be pleased.

playing speculated mantras how ever is offensive and is not pleasing to the lord. Mridanga playing is considered a type of yoga and every day practice of 30 minutes or more,

beneficial to health in genarel and specifically improve the Concentration hands, legs, Bosy, breathing work properly and the mind automatically becomes clear and you become happy it is my request to all parents to engage your children in learning Mridanga in their free time rather then sending them to play where they become disturbed in the mindthey should go to a qualified Mridanga teacher , by practicing mridanga they will be able to improve their studies , from 8 to 10 years of age is the best time to start learning if they start young their hands become very powerful and their playing become sweet like nectar. Mridanga description

the size f Mridanga that which praduces the best sound is 22-23 inches lenth the small and big heads should measure 4 and 8 inches diameter respectively lord caitanya Mahprabhu has also mentioned that there should be 32 straps, the middle part of the Mridanga should be a little big fat or also the sound will not be very good the small head should produce a high pith resounding sound and it is also very important that the hide be cow hide not buffalo hide srila prabhupada has mentioned that it is offensive to play a buffalo hide Mridanga.

Goudiya vaishnava never accept buffalo hide Mridanga , buffalo hide is thick and a little fluffy or one side bit like cotton wool attached to it. now most people are saling buffalo hide Mridanga, it is very difficult to recocnice which is the cow hide , better to take instraction from qualified teacher, buffalo hide it is also dose not generally look very clear cow hide is thinner

.Sound (6)

normally the hand is situated close to the Mridanga there is no need to hit from for achieve aloud sound there are basically two different categories of sound , firstly a closed or flad sound which is called (gupu) this is very important for Bhajans beats. some example of these mantra are ( dhete dhag tete tak , dhag dhin nak dhin) these require extensive practice in order , to achieve the exact sound and it is necessary to learn these from a teacher, the second type of sound is on open or resounding sound which is very important for kirtana playing some examples of these are (ja,jha,jhena, dhei,da, ge, ghe, dhe, dhena.

Introduction to Gupu mantras

Right hand

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hand must be keep very loose (tak) is a very sharp sound which is achived by hitting the upper portion of the small head with the index finger on the small head but by hitting it is

middle pert rather then the upper portion, the second (te) is played with the middle ring and small fingers together in the middle of the small head they are played in succession as tak, tete, taktete.

Left hand

dha is achived by sliding the hand on the big head and dhag by head of with 4 fingers and it should make a resounding sound .

K

i

rtana etiquette

while playing mridanga it is important to follow the kirtana leader not lead him, and to play softer than the song it self. the Mridanga sound not be so loud that is buries the song it self in a gerland for example the strings holds the flowers together it is not possible to make a gerland without strings, but it is not possible without flowers , both the flowers and strings are Equally important. the flowers are compared to the song and the strings that holdout together is the Mridanga,

but just as a garland the strings is not the prominent thing so also the Mridanga is less prominent then the song it self.to play louder than the song is only disturbing to the song it self. this is the Basic understanding according to the acariyas.one must be especially care full to play properly for Krishna. using bonofide mantra coming from a bonofide line of Goudiya vaishnava music Sampradaya. it is very important that junior mridanga players follow behind more experienced Mridanga player.

the four Music sampradaya

there are four sampradaya of Goudiya vaishnava Music

(1) Garanhati,(2) Monoharasahi, (3) Reneti. (4) Mandarini. (1) Garanhati orginates from Narottama das thakura,

(2) Monoharasahi orginates from srinivash acariya. (7) (3) Reneti orginates from Syamananda, and Bhavananda,

(4) Mandarini is no longer pure and is not accepted by our acariyas,

there are three bonofide sampradaya and of those Garanhati is the purest coming from Narottama das thakur. reneti is the least pure of these three it is not offensive to use it in Krishnas service so if you want to learn basic pure Mridanga then I suggest that you learn from pure Garan hati Sampradaya , as monohara sahi sampradaya. these two are perfact and pure. by few mantras and little practice the hand will become loose and powerful and you be able to play with any melodies . if the practice is done right may then it become possible , Jivagoswami mentioned that it is offensive to play speculation beats on the mridanga for Krishna. because it is representation , are is

non different from Baladeva because it is being used in his service.the Mridanga is always angages in Krishnas service so it is also respected as non different from Balaram. if you find the time it is best to learn basic playing from a (guru) according to acariyas.

Jivagoswami written that it is very important service for all the devotees,to know how to play proper sweet Mridanga, and singing kirtana and Bhajans purely everything in the spiritual world is pure and perfact.

Krsna is not pleased by speculation. If you want to please krsna then learn nicely from the begining from a bonofide teadher. According to Goudiya Vaisnava Parampara then you can achieve perfection in playing and krsna will give more and his mercy.

From when start to learn you to imediatelly stop all speculation on the Mrdanga for at least three months, after that you will not longer the desire to play speculation beats. You only want to learn more pure playing-that power you get. At first you have you have to be very patient and tollerant. Practicing at least one and half hour in a day. Every day continuosly while saying the mantra when you can play faster than you say the mantra then you are ready to go to the next mantra, by patiently practicing the same mantra the sound will become clear by practicing in this way I gaurantee that you will be able to play perfect, you will be able to play for kirtans and bhajan tunes with ease, practice is the most important thing it is by the practice of chanting that you develop love for krsna and it is by practice in mrdanga that you achieve perfect melody, the best time for practiceis in the mornig becouse it easier to concentrate before playing mrdanga one must pay obiesances to the mrdanga that is the devotional system and mrdanga is a instrument.

practice system

IN to become perfect in your playing there is a practice system wich should be followed start by playing tere kheta at a slow pace and after fifteen minutes increase your speed.and after anther 15 minutes increase your speed and after anather 15 minutes increes you speed again and again ,after anather 15 minutes until you have been playing ( tere kheta) ccntinuously for one hour ,then go on to the next mantra,and practice it is the same way if you can practice all mantras like this then you can become perfact, and you hand will be powerful and sweet.

if some one dose not have anough paitionce then it is better to to learn, especially in learning Mridanga instrument. because this instrument is quite difficult to learn.if you can practice for at least one hour every day then you can start to learn, it is also very important to say the mantra ,while practicing it will give you great benefit very quickly by chanting the mantra as you play you will not have any difficulty, singing and playing at the same time after words.

Rhythm ,,,,,,,,,,,,,,,iiiiiiiiiiiiiiiiii

(1) beat symbal is 111111111111111 (8) (2) beat,,,,,,,,,,, tere kheta etc,,

karatals ,,,,,,,,,,,,

pure belmetal karatals are the best ,the sound should be clear and open not flat sound big karatals should have low pitch sound , corresponding to the big head of the Mridanga and the small karatals should have a high pitch sound, corresponding to the small head of the Mridanga Karatals also have specific mantra for playing , they are actually the most important instrument because they keep rhythm for all ather instruments ,if any body wants to learn more about playing Karatals please so then come and learn .

Q, (1) what is hasta sadhana ?

A, any peice of repetitive alementar percussion practiced for correct and pleasant effect on a Mridanga instrument is known as hasta sadhana or finger practice.

Q,(2) what is Hatuti ?

A, the pleasant and care fully setup rhythmic composition played on a Mridanga instrument with the accompaniment of symbols (karatals) heralding the auspicious advent of lord sri caitantya mahaprabhu and to focus alpertion of the audience befour

commensing kirtana perfomence is known as Hatuti or prelime concert. Q,(3) what is laya ?

A, the rate of acceleraption of mepre and rhythm in a musical composition and accompaniment is known as laya. or free quency.

Q(4) what is math laya ?

A, a laya rate of musical accelaretion is coll math laya or slow frequency . Q, (5) what is khara laya ?

A, highly accelareted of music notes are known as khara laya of high frequency, Q, (6) what is purbardha ?

A, a the first stage of musical verse is known as purardha orfirst half.

Q,(7) what is uttaraddha ?

A, the second stage of musical verse is coll uttaraddha or second half, in common songs this is known as (antara) or cosing part. (9)

Q,(8) what is akhar and akhhar ?

A, expository small part of a minor musical composition with proper accompaniment is know and akhar or akhhar (segment) this akhar and the principal musical expression may be considered to be of the same nature and perpose .

Q, (9) what is katan ?

A, segment (akhar) of a major musical composition with proper accompaniment is known as katan (sectional exposition)

Q,(10) what is lahar ?

A, this is a pleasing and rhythmic small piece of percussion music played on the left hand of the mridanga with palm and on the right and of it with fingers laharh it played along with akhar or katan after a music with regular penpoo. frequency this kind of percussion is now be coming popular

A, thereare two more stages in the development of akhar, or laptan, in kirtana performance and accordingly very simple and elementary percussion music played infree hand initially at the concluding stage is known as that or free hand play.

Q,(12) what is Ghat ?

A, after playing hat or free hand simple percussion once or twice various pieces of percussion composition enriched with pleasantly blended different rhythm and metres one played in free hand this is known as Ghat this played in accompaniment with

comparatively difficult and big musical katan , or sectional exposition of music. Q,(13) what is chhakka ?

A, any percussion music played in half meter slow free quency is coll chhakka. or slow tempo.

Q (14) what is Laptan or panch ?

A, along with sigmental (akhar) or sectional (katan) exposition of a musical composition some methodically classified piece of percussion is played on a Mridanga in free hand manipulation this is know as laptan or panch. fingers together with the palm extending up to the wrist are all applied systemetically with proper perticuleted dexterity. Q,(15) what is matan ?

A, slow free quency simple pleasant densing percussion played after not that laptan etc. is known as matan or jubilant. (10)

Q,(16) what is tahai ?

A, repatative finishing percussion composition in tried when played in a pleasant meaner to coincide with the opening meter (sam) is coll (tehai) finishing triad.

Q, (17) what is murchana or man ?

A. after playing hat ghat laptan matan etc. two or three times pleasant composition is played cinciarding with the opening meter (sam) which is coll Murchana or man,

Q (18) what is namakirtana ?

A, the sixteen word and thirty two syllable holy name of Krishna prescribed for this age glorifying the supreme personality of godhead it is chanted as process of surrendering un to the supreme lord and when song in simple music through proper rhythm is coll kirtana of Krishnas holy name is prescribed on the vedic literature as the only meance to end all metarial anpangment .and attain the ultimate bliss of a association with the supreme lord.

Q,(19) what is Udanda kirtana ?

A. Singing the holy name loudly in great acstasy and dancing is known as udanda kirtana, or ecstasies dancing and chanting performance.

Q,(20) what is sri sri Nagar kirtana ?

A, nagara kirtana is loud congragational chanting with musical accompaniment passing along the stripes in orderly procession of a larg number of devotees to purely the contaminated atmosphere and awaken people spiritual conciousness.

Q,(21) what is Mahajana pada ?

A, Verse”s composed by such great Vaishnava sould as jaya devabidyapati, Chandidas, Govinda das, Vasudeva ghosh, uddhava das. Vrindavan das, Bhakivinod thakur, Narottama das thakur, Radharaman thakur, and other great soul.known as mahajana pada, or peremptory verses.( mridanga mantra,,,,,,,,,,,,,,,,,,,,,,,,

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Hand practice mantra

it is very important for the hand to make a loose.

Mantra 1. tere kheta,,,,,,,,,,,,,,,,,,,,,

explanation,”te” right hand four fingers closed sound, “re” right hand with thumb in (11)

middle of the small head of mridanga, “khe” left hand closed sound. “ta” right hand with four fingers open sound. (12

Mantra 2.

tere kheta tere tere kheta,,,,,,,,,,,,,,,,,,,

Explanation. same as previous.

mantra 3.

tere kheta tere kheta tere tere tere kheta,,,,,,,,,,,,

explanation. same as previous.

mantra 4

. tikhi takhi tere kheta, kheta takhi tere kheta,,,,,,,,,,,,

explanation. “ti” same as te. “khi” same as khe. “ta” right hands four fingers open sound. “khi” same as khe. “tere kheta” all ready you have,

“khe” left hand close sound, (ta) this is special with thumb same as (re) “Ta” right hand four fingers open sound. “khi” same as that. (tere kheta all ready you have.

mantra 5,

tere kheta tere kheta tere tere tere kheta ;

tikhi takhi tere kheta, kheta takhi tere kheta

so now try to play everything together as 5 please practice this mantra for a long time, then your hand will become powerful.

explanation. “ghe” left hand open sound, “ne” right hand with thumb like (re)

“nere”same as tere non different. “ghe” left hand open sound “na” right hand four fingers open sound same as (ta). “ge” left open sound but it is not strong sound. “da” right hand four fingers close sound like (te) but it is more stronger then “te”.

“khe” left hand close sound or flat sound. “ne” right hand with thumb same as (re). “nere” same as tere. all ready you have. “khe” all ready you have. “na” same as (ta). “khe” all ready you have, “ta” right hand four fingers open sound.

mantra 7

Ghene nere ghena geda,ghene nere ghena ,ghene nereghena

khene nere khena kheta, khena nere khena ,khena nere khena.

explanation. see mantra 6.

this mantra requires serious concentration number (8)

mantra 8

. tere kheta tere tere kheta , tere tere tere kheta

khete tete tete kheta tete kheta khete tete kheta tak tere kheta

tikhi takhi tere kheta ,kheta takhi tere kheta.

explanation. “tere kheta tere tere kheta tere tere tere kheta” same as befour “khe” with left hand flat sound, te” right hand with thumb like(re) “tete” same as (tere) “tete” same as (tere) “khe” left hand flat sound, “ta” right hand four fingers open sound.

“tak” right hand four fingers close sound “tere kheta” all ready you have

“ti” same as te, “khi” all ready you have, “ta” right hand four fingers open sound. “khi” same as befour. “tere kheta” all ready you have.

“khe” same as khi. “ta” same as (re) with thumb this ta is special. “ta” right hand four fingers open sound. “khi” same as khe. “tere kheta” all ready you have.

Q, (9) mantra,

ghene ne ghene ne ghene nere ghena, ghene nere ghena tak tere kheta,

khene ne khene ne khene nere khena, khene nere khena tak tere kheta,

explanation, “ghe” left hand open sound, “ne” right hand with thumb, “ne” right hand with four fingers, and next “ghene ne” same as befour. “ghene” left hand open sound and right hand with thumb. “nere” the same as (tere). “ghena” left hand open sound and right hand with four fingers open. “ghena” all ready you have before.

“tak” right hand four fingers close sound it is more stranger then (te).”tere kheta” all ready you have.

“khe” left hand close sound, “ne” right hand with thumb, “ne” right hand four finger open sound. next khene ne also same as before, “khene” left hand close and right with thumb, “nere” same as (tere) “khena” khe left hand close sound and na same as (ta)

“tak” right hand four fingers same as (te) but it Is more stronger then (te) “tere kheta” all ready you have before.

HATUTI START MANTRA

Mantra

,

jha jha jha jha guru gur guru gur guru gur guru gur guru gur guru gur

dhow kheta tat jha uru tata kheta ghena tini daghi neta ghenow

uru tat tat ta jha jha jha jha uru takhi takhi ta,uru takhi takhi ta,

dag daghi neta kheta gena takhi ta, guru gur dheita dheita dhei guru gur da da

da

,,,,,,ghenere ghena

...

TRANSLATION

“jha” both hands open loud sound , “guru gur” both like like de and re only with thumb two times, “dhow” same as jha but it is louder than jha, “kheta” khe only left hand and closed. ta 4 fingers open, “tat” closer then te strong sound , “jha” same as before , “uru” right hand 4 fingers and thumb, “tata” right hand four fingers open two times, “kheta” 13 khe left close ta right hand open, “ta” right hand for fingers open , “ghe” both hand loud sound and na only right hand same as ta, “ti” right hand three fingers , “ni” one finger , “dha” both hands like jha , “ghi” only left hand open , “ne” one finger, “ta” for fingers “ghe” left hand open, and na same as ta, “uru” right hand four fingers thumb and for fingers, “tat tat ta” right hand 4 fingers open three hit the mridanga, “jhaj jhaj jha” both hands and loud sound, “uru” four fingers thumb and again for fingers, “takhi takhi ta” ta right hand four fingers , khi left hand close sound,”dag”“daghi” da both hands open sound, ghi left hand open sound “dag”same as jha. “neta”ne right hand one finger .and ta right hand four fingers. “kheta” khe left hand close sound , ta right hand four fingers,

“ghena” ge left hand open sound , and “na”same as ta. “takhita” ta right hand four fingers open, khi left hand close sound, ta right hand four fingers open.

“gurugur” same as ghenere ghena , ghe left hand open,”nere” same as tere, “ghe” left hand open sound, “na”same as ta,

“dhei ta” dhei more louder then jha with both hands. and “ta”right hand four fingers open sound. “dhei” same as that. “gurugur” all ready you have.”da da da” da both hands same as jha, AND THEN PLAY HATUTI NO, ONE.

ONLY ONE TIME YOU HAVE TO PLAY HATUTI START MANTRA, THEN NEXT. hatuti number one quite difficult if you can learn then your hand will be so much

powerful, every one has to learn it, it is common subject , without this mantra no meaning of Mridanga. so I request to all the devotees to learn atleast this mantra.

HATUTI (1)

JHA GHENERE GHENA, JHA GHENERE GHENA, JHA GHENA,,,,,,,,,,,,, da guru gur , da guru gur , da gur,,,,,,,,,,,,,,,,, TRANSLATION, “jha” both hands open “ghe” left hand open ,”nere” same as tere. “ghe” left hand open sound. “na” right hand four fingers open like (ta).

“jha” both hands open sound.”ghe” left hand open sound. “na” same as ta.

you playing “jha ghenere ghena” but you have to say “da guru gur”so then trying to play and say it, saying is most important then playing, because after you can lead kirtana and same time you can play mridanga, so for that from begining you have to make habit how to say and play.so when you can get da guru gur da guru gur da gur then you should forget of the “jha ghenere ghena jha ghenere ghena jha ghena, at first from begining all the mantras you should start very slow and clear,then gradually increase of speed . it is the basic system of playing or learning Mridanga so then go to the next verse . .

DECORATION WITH JHA GHENERE GHENA.

1.tete tete kheta tak daghi nak jha uru tak tak tete kheta da ghi nak / +3

times.

14 TEHAI.

da ghi nak jha, dha ghi nak jha da ghi nak.

TRANSLATION.

tete, right hand 3 finger & one finger close sound. tete same as that etc...kheta tak khe left khe like khe ,ta ,3fingers , tak, one finger up close. daghi, da, both open, ghi, left open. “nak jha”nak one finger up close, jha, both hands open. “uru” right 4 fingers and thumb and again 4 fingers open. “tete kheta” tete right 3 and 1 finger, khe left like khe ta, 4 fingers, “daghi nak” da open, left open, left, right our finger up like this three times and then tehai.

“daghi nak jha” da both hands, ghi left open, nak, right one finger jha both hands open. (and then go to the jha ghenere ghena)

EXPLANATION

After three times of tehai from nak go to the next mantra. I mean again jha ghenere ghena and then from ghena go to the next mantra. Last jha become next mantra will be continue like this.

DECORATION

Dhow kheta dheiya guru gur dhini dheiya

tere kheta tak dhini dheiya.

khi khi tak jha, khi khi tak jha, khi khi tak

.

TRANSLATION

“dhow”, both hands open and louder sound, kheta khe left closed. “ta”, right finger, “dheiya”, dhei like jha, “ya”, like ta. “guru gur”, ghenere ghena. “dhini”, dhini both open but right one finger. “ni”, right 3 fingers open. “dheiya”, dhei like jha , ya same as ta. “tere kheta”, you’ve already had this before. “tak”, right 4 fingers close. “dhini”, all ready you have. “dheiya”, also already have before. “khi khi tak jha”, khi left close sound, tak 4 fingers close, jha, both hands open and loud. until tak then go to the next beat.

EXPLANATION

Dhow

, jha, dha, all the same sound. khe, khi, same sound.Tak, te, same sound. ta, na, same sound. up to tak then again go to the jha ghenere ghena start to play. every after one decoration.you have to go back to(“jha ghenere ghena”) it is the system for hatuti mantra. if you can play continue without speice then your hands will get so much power. and to get benefit to learn perfect Mridanga.

da guru gur dhena,da guru gur dhena, da guru gur dhena,jha guru gur

da guru gur dhena, a guru gur dhena, da guru gur dhena,jha guru gur

da guru gur dhena, daguru gur dhena,da guru gur dhena, jha guru gur.

ta khi ta ta kheta ta ta kheta ta khi ta,

guru gur dheiya tta kheta tata kheta takhi ta

, TRANSLATION...

“DA”both hands open sound same as jha. “guru gur” same as ghenere ghena. “dhe” same as jha. “na”same as ta rigt hand with four fingers,

“jha”all ready you have. “guru gur”same as (ghenere ghena) 15 three lines are same and then next two lines.Takhi ta, right 4 fingers “khi”, left close “kheta”, khe same as that. “tata”, right 4 fingers two times. “kheta”, same as that, “takhi” ta right hand four fingers open sound. khi left hand close sound, “ta”right hand four fingers open.

EXPLANATION,,,,,,,

After that mantra again go back to (jha ghenere ghena)

after one time of jha ghenere ghena go to the next decoration, like this continue you have play without speice then you will see how fast your hand will go,

DECORATION,

dad dhin nak dhin nak dhin jha guru gur, dad dhin nak dhin nak dhin jha guru

gur,

dad dhin nak dhin nak dhin jha guru gur, Dheiya takheta daghi neta kheta

kheta dheiya dad dheiya.

TRANSLATION,

“dad”both hands open sound right hand with four fingers, “dhin”also both hands but it is more stranger then dad,

“nak” right hand with one finger up close sound, “jha”both hands open sound and loud. “guru gur”same as ghenere ghena. and then “dhei” more louder then jha,

“ya”same as ta right hand four fingers open sound, “ta”with four fingers. “khe”left hand close sound. “ta”same as that, “da”both hands open like jha.

“ghi”only left hand open,”neta”ne right hand with one fingr,and ta with four fingers. “finger ready you have , “kheta”all ready you have, “dhei”both hands loud sound, “ya”same as ta right hand four fingers. “da”both hands open but it is not louder,”dhei ya”all ready you have,

EXPLANATION.

“dad”, “da”, “jha”, all the same sound,”dhei”, “dhin”, same sound. “ya”, “ta”, same sound. and then without speice go back to ( jha ghenere ghena)

Here all the decoration mantra gose with Hatuti number (1). DECORATION .

Dad dhin nak dhin neda jha guru gur, dad dhin nak dhin neda jha guru gur das dhin nak dhin neda (jha jha guru gur da gur

da guru gur da guru gur da gur, jha jha guru gur da guru gur da guru gur da guru) x 3 TRANSLATION.

“DAD” both hands open sound not so strong, “dhin” both hands it is very strong sound. “nak” right hand with one finger up close sound. “dhin” all ready you have.

“ne”right hand with three fingers, “da” both hands open sound not strong. 16 “jha”both hands loud sound. “guru gur”same as ghenere ghena. 17 “jha-jha” all ready you have, “guru gur ”same as ghenere ghena, “da gur” same as jha ghena.

EXPLANATION . I think no need to explain again of the four number of decoration mantra because all ready you have,so then after this mantra play next . it is very important mantra to get the knowledge to understand to Music rhythm,sound and Melody.

one canot play perfact Mridanga without this mantra, so for that you Must learn atleast this mantra, if you canot understand from the book so then please sent me letter I will halp you but you do not become confuse,

or if you come to me then it will be much better then learn from theBook, so then play the next mantra, every each mantra after without speice you have to go next mantra, you canot make speice because rhythm is going with you. you cannot break the rhythm. DECORATION...

dad dheita guru gur da gur, da guru gur da guru gur da gur

dad dheita guru gur da gur, da guru gur da guru gur d gur

dad dheita guru gur da gur , da guru gur da guru gur da gur

EXPLANATION.

“DAD”both hands open not strong sound, “dhei”both hands open louder sound, “ta” right hand four fingers open sound, “guru gur” same as ghenere ghena, “da gur”same as jha ghena.

“da guru gur”same as jha ghenere ghena, “da guru gur”same as jha ghenere ghena, “da gur”same asjha ghena. then next mantra without speice,

DECORATION.

dad dhei ta guru gur da gur, dad dhei ta guru gur da gur

dad dhei ta guru gur da gur, da guru gur da guru gur da gur

. EXPLANATION. no necessary to write explain again because all ready you have in previous. then go to the next mantra.

DECORATION.

dad dhei ta,dad dhei ta, dad dhei ta, guru gur da gur

da guru gur da guru gur da gur,

.

EXPLANATON. all ready you have,look at the previous mantra then go to the next mantra. all the mantra like combination joint each ather .

DECORATION, 18

(da guru guru gur da guru guru gur da gur da gur) x1 .

(explain) da dere dere ghena dere dere ghena da ghena da ghena. TRANSLATON. “DA GURU GURU GUR DA GURU GURU GUR ”the same as da dere dere ghena, now look at the translation of “da guru guru gur”

“da” both hands open sound .” guru” same as dere, de both hands like da, “re” right hand with thumb.”da gur” same as jha ghena or da ghena. da and jha same with both hands open and “ghe”only left hand open sound. “na” same as ta with four fingers open sound.

EXPLANATION.

it is very important mantra for the hand , at first continue keep on practice without then your hand will be be power full. actually only one time you have to play it, then go to the next mantra.

DECORATION.

gher geda guru gur guru gur, da guru guru gur da guru guru gur da gur da gur,

gher geda guru gur guru gur, da guru gur gur da guru guru gur da gur da gur,

gher geda guru gur guru gur, da guru guru gur da guru guru gur da gur da

gur

.

TRANSLATION.

“gher geda” same as (ghene nere ghena da) “ghe”left hand open sound. “ne”right hand with thumb. “nere”same as (tere) “ghe”all ready you have. “na”right hand four fingers open sound. “da”with both hands open sound.YOU PLAYING GHENE NERE GHENA DA, but you have to say ( gher geda) then (daguru guru gur da guru guru gur da gur da gur, all ready translation you have,so then go to the next mantra.

DECORATION.

gher geda guru gur guru gur, gher geda guru gur guru gur, gher geda guru gur

guru gur

da guru guru gur da guru guru gur da gur da gur.

TRANSLATION. ALL REEDY YOU HAVE LOOK AT YOUR LAST MANTRA. then go to the next mantra without speice.

gher geda,gher geda,gher geda, guru gur guru gur,

da guru guru gur da guru guru gur da gur da gur

.

TRANSLATION. all ready you have previous look at there.then go to next mantra without speice (it is coll ending mantra to stop hatuti number one)

ENDING or TEHAI.

TERE KHETA GIGHI NAK JHA GURU GUR TERE KHETA GIGHI NAK JHA GURU GUR TERE KHETA GIGHI NAK.

TRANSLATION. “tere” all ready you have. “khe”left hand close sound. “ta”right with four fingers, “gi”left open sound but not strong. “ghi”left hand open sound it is strong sound.”jha”both hands open sound.”guru gur”same as ghenere ghena.

EXPLANATION.

so then now you trying to play all the mantra together atfirst every each mantra trying to pick up perfact sound , by paitioned very slow way when will get the sound of all the decoraton and then try to joint together and play fast ,during plaing you have to say the mantra then you will get so much benefit to sing of the song same time you playing. it is basic system learning mridanga.

HATUTI (2)

Dhereti dhereti dhere daghi tere tere kheta tak tere kheta,

tereti tereti tere takhi tere tere kheta tak tere kheta,

dad dhin tere tere kheta tak tere kheta,

dad dhin dere geda jha,dad dhin dere geda jha,dad dhin dere

geda

.

TRANSLATION,

“dhereti” “dhe”both hands open sound right hand with four fingers. “re” right hand with thumb. and “ti”right hand with four fingers . “dhere” “dhe”both hands all ready you have, “re”with four fingers, “da ghi” “da”both hands open sound,”ghi”only left hand open sound.”tere” right hand four fingers and right hand with thumb. “kheta”khe left hand close sound, and “ta”right hand with four fingers, “tak”right hand with four fingers close and strong sound. “tere kheta”all ready you have.

“tereti” “te”right hand four fingers close sound,”re”right hand with thumb, “ti”right hand with four fingers, “tere”right hand with four fingers and thumb. “ta khi” “ta”right hand with four fingers, and “khi”left hand close sound, “tere tere”all ready you have.

“kheta”khe left hand close sound, “ta”with four fingers open.”tak”right hand four fingers close sound. “tere kheta”all ready you have. 19 “dad”both hands open right hand four fingers, “dhin”both hands open and strong sound.”tere tere” all ready you have, “kheta” “khe”left close sound, “ta”right hand four fingers open sound.”tak”right hand with four fingers close sound .”tere kheta”all ready you have.”dad”both hands open sound but not strong, “dhin”both open but it is strong sound.”dere” “”de.both hands open sound right with four fingers.”re”right hand with

thumb.”geda” “ge”left hand open sound, “da”right hand with four fingers very strong sound “jha”with both hands loud sound all ready known..

HATUTI (3

“dere” de both hands open sound right four fingers, “re”right hand with thumb,

“gere”ge only left hand open sound, “re”right hand with thumb, “ghene” “ghe”left hand open sound strong .”ne”right hand with thumb.”nere”same as tere right four fingers and thumb.”ghena” “ghe”all ready you have, “na”right hand with four fingers open sound, “now”right hand with four fingers open sound. “tere kheta”all ready you have.

“ghene nere ghena now tere kheta”all ready you have.”ti khi” “ti”right hand with four fingers close sound. “khi”left hand close sound, “ta khi” ta right hand four fingers open sound, “khi”left hand close sound. “” tere kheta” all ready known before.

HATUTI (4)

Ghene tere ghena tak tere kheta ghene

tere kheta ghene tere ghena tak tere

tere ghena, tere ghena, tere ghena.

TRANSLATION.

“GHE”left hand pen sound, “ne”right hand with thumb, “tere”right hand four fingers and thumb. “ghena”ghe left hand open sound, “na”right hand four fingers open sound. “tak”right hand four fingers close sound. “tere”right hand four fingers and thumb, “kheta” khe left hand close sound, “ta”right hand four fingers pen sound. “ghene”ghe left hand open sound, “ne”with thumb (like re)

“tere kheta”all ready you have before. “ghene”ghe left open hand sound “ne”right hand with thumb, “tere” all ready you have. “ghena” ghe left open sound, “na”right hand four fingers open sound. “tak”right hand four fingers close sound. “tere” all ready you have. “tere””te”right hand four fingers close sound, “re”right with thumb.

“ghene” “ghe”left hand open sound. “na” right hand with four fingers open sound. HATUTI (5)

dad dhin dere geda dad dhin dere geda,

dad dhin tere tere kheta tak tere kheta,dere geda dere geda

jhete nete geda ,jhete nete geda jha , tete nete nete kheta khete nete nete

kheta ,

dere geda dere geda

. 20

TRANSLATION. 21

“dad”with both hands pen sound, “dhin”both hands open and loud sound,”dere”de both hands open sound,re right hand with thumb,”geda”ge only left hand open,da same as te with right hand four fingers close sound, (dad dhin dere geda same as that,and then “dad dhin”all ready you have,”tere tere”all ready you have, “kheta tak”khe left hand close sound,ta right hand four fingers open sound, tak right hand four fingers close sound,

“tere kheta”all ready you have,”dere geda dere geda”de both hands open sound,re right with thumb,ge only left hand open sound, da right hand four fingers close sound,

“jhete”jhe only left hand open sound,te right hand with thumb, “nete”ne”same as te,te same as re.”geda”ge left hand open sound,da right hand four fingers close sound, “jhete nete geda”same as that all ready writen, “jha”both hands open sound.

“tete”same as tere, “nete”same as tere. “nete”same as tere. “kheta”khe left hand close sound,ta right hand four fingers open sound,”khete”khe same as that,te right hand with thumb. “nete nete kheta” nete same as tere, kheta all ready known.”dere geda dere geda” de both hands open sound,re right hand with thumb, ge left hand open sound,da right hand four fingers close sound,

HATUTI (6)

khi gurur gur dad dhin tete tete kheta tak,tete tete kheta tak,tete tete kheta tak,

khi guru gur dad dhin tete tete kheta tak, tete tete kheta tak, tete tete kheta

tak,

khi guru gur dad dhin tete tete kheta tak, tete tete kheta tak, tete tete kheta

tak,

SPEED

dere dere ghena nak tere tere kheta tak

dere dere ghena nak tere tere kheta tak

dere dere ghena nak tere tere kheta tak,

ENDING,

dere dere ghena nak tere tere kheta tak jha

dere dere ghena nak tere tere kheta tak jha

dere dere ghena nak tere tere kheta tak /

TRANSLATION,

“khi”left hand close sound, “guru gur”same as ghenere ghena,”dad”with both hands open sound like “jha”.”tete”right hand three and one finger, “tete”same as that,”khe”same as that,”ta”right hand with three fingers, “tak”right hand with one finger up close sound, SPEED, “de”both hands open right hand with four fingers,”re”right hand with thumb, “dere”same as that,”ghe”left hand open sound only,”na”right hand with three

fingers,”nak”right hand with one finger up close sound,”tete tere”right hand four fingers and thumb, two times, “kheta” left close sound and ta right hand three fingers open sound,”tak”right hand with one finger up close sound,

ENDING, all ready translation you have in speed mantra,there fore no necessary to write again, so first part mantra you have to play 3 times, second part also 3 times then(ending) HATUTI (7)

ghene nere ghena,ghene nere ghena,ghene nere ghena ,tak tere kheta

khene nere khetna,khene nere khena, khene nere khena,tak tere kheta,

ghene nere ghena, ghene nere ghena

ghene nere ghena ,ghene nere ghena

ghene nere ghena tak tere kheta,

khene nere khena, khene nere khena,

khene ne khene ne tete te khene, tete khene, tete khene, tete khene,

khene nere khena tak tere kheta.

TRANSLATION,

“ghe”left hand open sound, “ne”right hand with thumb like (re), “nere”same as tere, “ghe”all ready you have, “na”right hand with four fingers open sound,”tak”right hand four fingers close sound,like (te),”tere kheta” all ready you known,

“khe”left hand close sound, “ne”right hand with thumb, “nere”same as tere,”khe”all ready you have, “na”right hand with four fingers open sound.”tak tere kheta” “ghene nere ghena”all ready you have, “ghene nere ghena”same as that, “ghene”same as that,”ne”right hand four fingers open sound, “ghene ne”same as that, “tete te”first te with four fingers close sound,second te with thumb like re, third te with four fingers close sound,”ghene ne”ghene all ready you have,ne right hand with four fingers open sound, “tete ghene” tete same as tere, ghe left hand open sound,ne right hand with four fingers open sound, PLAY THREE TIMES SAME THINGS,and then.

“ghene nere ghena tak tere kheta”all ready you have please look at the first line of this mantra.”khane”khe left hand close sound like khi,”ne”right hand with thumb,”nere”same as tere,”khena”khe left like before as ta with four fingers open sound,

“khene ne”khene same as before, ne right hand with four fingers open sound like (ta) “khene ne ”all ready you have,”tetete”first te with four fingers close sound,second te with thumb,third te with four fingers close sound,”khene ne”all ready you have non different then that,”tete khene”tete same as tere, khene all ready you have,

“khene” same as that, “nere”same as tere,”khena”same as kheta,”tak”right hand with four fingers close sound,”tere kheta”all ready you have,

HATUTI (8)

(Ghene nere ghena ghene nere ghena ta kheta,

Khene nere khena khene nere khena da gida) x 3

(Khi gurur gur dada ghene nere ghena ghene nere ghena ta)x 3 22

(Ghene nere ghena ghene nere ghena ta,khene nere khena khene nere khena

ta)x 3

(gher gegher ge gher ge gher ge gher gher,kher ke kher ke kher ke kher ke

kher kher)x3

(ge gher ge gher gher, ke kher ke kher kher)x 3

(ENDING) jha khi jha khi ta khi ta khi ta ta khi khi ta ta khi khi,

TRANSLATION.

“ghe”left hand open sound,”ne”with right hand with thumb, “nere”same as tere, “ghe”all ready you have,”na”right hand with four fingers same as ta,”ta”same as that. “kheta”khe left close sound,ta with four fingers open sound,

“khene”khe same as that,ne right hand with thumb, “da”both hands open sound. “gida”gi only left hand open sound, da both hands like before.

...NEXT PERT...

“khi”left hand close sound,”guru gur”same as ghenere ghena,”da da”both open two times right with four fingers,”ghene”all ready you have before,”nere”same as tere.

“ghena”ghe left hand open sound,na right with four fingers,”ta”right hand with four fingers open sound,

...NEXT PART...

“ghene”all ready you have,”nere”same as tere,”ghena”all ready you before,”ta”right hand four fingers open sound,”khene”all ready you have,”nere”same as tere. “khena”all ready you have,”ta”right hand four fingers open sound,

...NEXT PART...

“Gherge”same as ghene nere ghena, “gherege”same as that, “gher”both hands open like (jha) and with (re)right hand with thumb,”gegherge”same as ghene nere ghena ghena, “gher gher”same as dere ghena dere ghena, (de both hands open sound like “da”) and (re right hand with thumb) (ghena “ghe”left hand open sound “na”same as ta with four fingers,

“kherke”same as khene nere khena,”kherke”same as khene nere khena.

“kher”both hands left like a ( khe)close sound,right hand four fingers open sound, and “re”with right with thumb,”ke kher ke”same as khene nere khena khena’

“kher kher”both hands left hands close like (khe) right hand with four fingers,and with thumb,and then (kheta) it was one time of the “kher” so play two times.

...NEXT PART...

“Ge gher ge”same as ghene nere ghena ghena, “gher gher”all ready you have before. 23 “ke kher ke”same as khene nere khena khena, “kher kher”all known before,

...NEXT ENDING PART...

“Jha”both hands open sound,”khi”left close like khe,”ta”right hand with four fingers open sound,”khi” same as that.”ta ta”right hand two times open sound, “khi khi”all ready known,”gher”all ready you have before, ““ghena”ghe left hand open sound, na same as ta with four fingers,”jha”all ready known.”uru”only with right hand four gingers thumb and four fingers, “tini”ti same as te right hand with four fingers,”ni”right hand with one finger in middle of the Mridanga,”ta khi”ta as normal,khi also normal as before,

“ta”right hand with four fingers open sound. HATUTI (9)

Dha dhene nak dhene dhene nak dhene dhene

dad dhin tere tere kheta tak tere kheta

TRANSLATION,

“dha”both hands open sound same as jha, “dhe”both hands open sound right hand one finger in middle,”ne”right hands 3 fingers only,”nak”right hand one finger up close sound, “dhene”all ready you have before,(dhene nak dhene dhene) same as that,

“dad”same as (jha) with both hands but it is not so strong sound,”dhin”both hands open and strong sound like jha,”tere tere” te right hand four fingers close sound and re with thumb like (re),”kheta” khe left hand close sound,”ta”with four fingers open sound, “tak”right hand four fingers close and strong sound,”tere kheta”all ready you have, “tere kheta”all ready you have previous,”tere tere” same as that,”kheta tak”all ready you have,”tere kheta”all ready you known as before,

HATUTI (10)

Dhauti nitya kheta tere kheta tak, tere kheta tak, tere kheta ,

Tauti nitya kheta tere kheta tak, tere kheta tak, tere kheta,

Dad dhin tere tere kheta tak tere kheta,

dad dhin dere geda jha, dad dhin dere geda jha, dad dhin dere

geda,

TRANSLATION,”dha”both hands open sound but right hand with three fingers,

“uti””u”right hand with one finger in middle of the headclose sound,”ti”right hand with three fingers close sound,”nitya” “ni”right hand with one finger up close sound,

“tya”right hand with four fingers open sound same normal (ta),”kheta”left hand close and right hand four fingers like ta, “tere kheta” norml as you have before non

diferent,”tak”right hand with one finger up close sound,( tere kheta tak, tere kheta) all ready you have before,( tauti “ta”right hand four fingers open sound,”u”same as before,”ti”right hand three fingers close sound,”nitya”all ready you have befour, 24 (tere kheta tak

same as before

non diferent then before.

“dad”both hands same as (jha) “dhin”same as jha but it is more loudr then jha sound will be like (dhei) “tere tere” right four fingrs and thumb + four fingers and thumb,”kheta tak”kheta as normal as before, “tak”right hand fore fingers close sound,”tere kheta ”same as that. “dad”both hands not louder sond, “dhin”loud sound, “dere” de both hands like dad right hand with four fingers close sound, “re”right with thumb. “geda” ge only left hand open sound, “da”right hand with four fingers close but strong sound. “jha”both hands loud sound,

EXPLANATION,

dha,dhi,,dhin,jha, all the beat are same sound but some times right hand fingers will be change, dad,da, both hands open sound but not so strong, tya,ta,tak with right hand four fingers.

HATUTI (11)

Jha jha jha tere tere tere tere kheta tak tere kheta ,tere kheta tere tere kheta

tak tere kheta,

Ta ta ta tere tere tere tere kheta tak tere kheta, tere kheta tere tere kheta tak

tere kheta

dad dhin dere geda jha, dad dhin dere geda jha, dad dhin dere geda /

TRANSLATION,

“JHA JHA JHA” both hands open sound right with four fingers, “tere tere tere tere” te right hand with four finers close sound, and “re”with thumb.”kheta”khe left hnd close sound and “ta”right hand with four finers open sound.”tak” right hand with four fingers close sound, “tere kheta” all ready you known same as previous,

“tere kheta tere tere kheta tak tere kheta” no need to writte translation again and again because all ready you have, “Ta ta ta”only right hand with four fingers open sound. next all the beat same as first line .”dad”both hands open sound right hand with four fingers open sound. “dhin” it is same as dad but it is more strong sound then “dad” next beat all tha same as previous, “dad dhin dere geda jha”all ready you known.

EXPLANATION, jha,dad,dhin all most same sound but some of them stronger.

it is very important beat for the hand, every each hatuti if you can practice every day minimum one hour then in 6 munths your hands will be powerful, so for that you must practice every day if you realy wants to learn mridanga perfact way.

HATUTI (12)

Gheneta gheneta kheteta gheneta , teteta teteta kheteta teteta kheteta .

kheta ghena kheta ta guru gur da ghina , 25

teteta takheta tak dhena kheta jha guru gur, teteta takheta tak dhena kheta

jha,guru gur, teteta takheta tak dhena kheta/

TRANSLATION.

“ghe”left hand open sound, “ne”right hand with thumb. “ta”right hand with four fingers open sound. “gheneta”same as that.”khe”left hand close sound like (khi).”te”right hand with thumb,”ta”right hand with four fingers open sound.”kheteta” same as

that,”gheneta”same as that.

“teteta” first “te”with right hand for fingers close sound. second “te”right hand with thumb, “ta”right hand with four fingers open sound,”teteta” same a that. “kheteta”khe all ready you have, “te”right hand with thumb.”ta”right hand with four fingers open sound.. “kheta”khe all ready you have,ta right hand with four fingers open. “ghena”ghe left hand open sound. “na”same as ta with four fingers open sound.”kheta”all rady you have. “ta guru gur”ta right hand with four fingers. “gurur gur”same as ghenere ghena.

“da ghina” da both hands open sound. “ghi”left hand open sound, “na”same as ta with four fingers open sound.

“tete ta”first te with three fingers of the right hand, Second te one finger of the right hand. ta right hand with four fingers open sound.”ta kheta” ta right hand with four fingers open sound.”khe”left hand close sound.”ta”right hand with four fingers open sound.

“tak”right hand with four fingers close sound, “dhena”dhe both hand open sound like (jha). “kheta”all ready you have,”jha”both hands open and strong sound, “guru gur”same as ghenere ghena, non different.

HATUTI (13)

Dhere tete dhere tete dhat dhat dhere tete,dhere tete dhere tete dhat dhat

dhere tete

dhat dhere tete,dhat dhere tete,dhere tete,dhere tete,

kheta kheta gade ghine tete kota gade ghine jha,

kheta kheta gade ghine tete kota gade ghine jha,

kheta kheta gade ghine tete kota gade ghine/

TRANSLATION.

“DHE”both hands open sound but right hand with one finger in middle,”re”right hand with three fingers,”tete”right hand one and three fingers close sound,

“dhere tete”same as previous .”dhat”both hands open sound right hand with four fingers. “dhat”same as that. “dhere tete”same as previous.

26 “kheta”khe left hand close sound,”ta”with right hand four fingers open sound.”kheta”same as that “gade”ga left hand open sound.de right hand with four fingers close sound,”ghine”ghi left hand open storng sound,”ne”same as (ta)right hand with four fingers open sound.”tete”same as (tere) right hand four fingers ans thumb.”kota”

“ko”same as khe, “ta”right hand with four fingers,”gade ghine”all ready written please look at there,”jha”both hands open sound..

EXPLANATION.

dhe,dhat,jha.all these same sound,re and second te same sound, ga,ghi,same sound,kota,kheta,same sound.

it is very important mantra for the hands,you will get so much benefit to play this. HATUTI (14)

kot tete geghe tete kota kota geghe tete,kot tete geghe tete kota kota geghe

tete

kota geghe tete, kota geghe tete,

geghe tete,geghe tete,geghe tete

Dha klanta tete kota gade ghine jha. Dha klanta tete kota gade ghine jha,

Dha klanta tete kota gade ghine/

TRANSLATION.

“KOT”same as khe “tete”right hand with three and one finger,”geghe”ge left hand open but not strong “ghe”left hand open strong sound,”tete”all resy written.

you have, “geghe tete”all ready you have,

“Dha”same as jha with both hands,”klan”with both hands heat on the small head of the Mridanga first right hand and then left hand,”ta”right hand with four fingers,

“tete”same as tere. “kota”same as kheta.”gade”””ga left hand open sound,”de”right hand four fingers close sound,”ghine” “ghi”left hand open sound,”ne”right hand with four fingers,”jha”both ands open sound,

EXPLANATION.

KOT LEFT HAND LIKE (KHE) tete three and one fingers,

ge,ghe,almost same ge not so strong,ghe is very strong. ATFIRST EVERY EACH BEAT pick up clear and then make speed.it is basic system of learning Mridanga.

HATUTI (15)

kOT ta ghenere kotak ghenere . kot tete tete kotak ghenere ,

grighi tete tete kotak ghenere kotak thun thun trithun na,

khi khi tete, khi khi tete, khi khi tete, 27

khi guru gur da ghine jha, khi guru gur da ghine jha, khi guru gur da ghine/

TRANSLATION.

“kot” same as khe. “ta” right hand four fingers open sound,”ghe” left hand open sound. “nere” right hand three fingers and one finger.”kotak””ko”same as khe,and “tak”right hand four fingers close sound,”ghenere” all ready you have,

“kot” same as khe.”tete tete”right hand three and tree and one finger.”kotak”all ready you have,”ghenere”all ready you have,

“grighi”gri only left hand open sound but not strong,”ghi”left hand open and strong sound,”tete tete”right hand three and one fingers + three and one finger,”kotak”all ready you have,”ghenere”all ready you have previous.”kotak”all ready you have.

“thun ”both hands riht hand with four fingers like (ta) and left hand same as like (khi). “thun”same as before.”tri thun” tri same as (tere) right hand with four fingers and thumb. “thun”all ready you have.”na”same as ta with right hand four fingers open sound.

“khi khi”only left hand close sound.”tete”right hand three fingers and one finger. “khi”same as that. “guru gur”same as ghenere ghena.”da”both hands like jha. “ghi” left hand open sound.”ne”same as (ta).”jha”both hands open sound.

HATUTI (16)

Dhinita dhini da dhini dhini ,tini tini tini da dhini dhini,

gheneta ghenta kheteta gheneta, kheta ghena kheta daghi neta kheta,

tak tak tak takta da ghine jha, guru gur tak tak tak takta daghine jha, guru gur,

tak tak tak takta da ghine/

“dhi”both hands open sound right hand with three fingers,”ni”right hand with one finger in middle,”ta”right hand with three fingers,”dhini” dhi both hands open right hand with one finger in middle,”ni”right hand with three fingers,

“da”both hands open right hand with four fingers,”dhini”dhi both hands open right hand with one finger “ni”right hand with three fingers,

“gheneta” “ghe”left hand open sound,”ne”right hand with thumb,”ta”right hand with four fingers,”gheneta” same as that, “kheteta” khe all ready known, te right hand with thumb, ta right hand with four fingers open sound, “gheneta” all ready you have.

“kheta”all ready you have, “ghena” ghe left hand open sound na same as ta.

“kheta” all ready you known. “da” both hands open sound right hand with four fingers. “ghi”left hand open sound,”neta”ne right hand with one finger,”ta”right hand with four fingers open sound.”kheta” all ready you known I don't have to write again. 28 29

“tak”right hand same as (ta) wit four fingers,”takta” with both hands heat on the small head of the Mridanga two times, “da” both hands open sound right hand with four fingers.”ghi”left hand open sound,”ne”right hand with four fingers open sound. “jha” all ready you known.”gurur gur”same as ghenere ghena.

HATUTI (17)

tete tete kheta ta tinow na kheta ta, dhow kheta dhara kheta dharta dharta

dhar

da guru gur dhe neta kheta,da guru gur dhe neta kheta, da guru gur dhe neta

kheta,

TRANSLATION,

“tete” te right hand with three fingers close sound and second “te” right hand with one finger close sound,”tete”same as that, “khe” left hand close sound ,

“ta” right hand with four fingers open sond, “ti”right hand with three fingers,”now”right hand with one finger open sound, “na”same as now.

“kheta” khe left hand close sound,”ta”right hand four fingers open sound, “dhow” same as dhei or jha loud sound,”kheta”all ready you have previous.

“dhera”dha same as dhei and (ra) right hand with four fingers open sound,”kheta”all ready you have. “dharta” dher same as dhei with both hands open and loud sound,ta

right hand with four fingers open sound. “dherata”same as that.”dhar”same as before. da both hands open sound, “guru gur”same as ghenere ghena.

“dhe”only with left hand open sound, “neta”ne right hand one finger,and “ta”with three fingers open sound,”kheta” khe left hand close sound and ta right hand with four fingers. HATUTI (18)