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Evening Program, Eve of Sahastrara Puja after Nirvikalpa talk
Do you know the meaning of this one? We have the translation. Oh, I see. But the 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. 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 us beats i think, in the older times. But in the modern times there are no beats. There is no mariadas, nothing. So in our Sahaja Yoga songs you all must have mariadas, you cannot just sing something without any beat. You must definitely have beats. If it is a 4-beat sound or it’s a, I don’t know how many beats you have, but we have a 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 as 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. On the same point, again, on the same theme, you see. 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 a thing to beats. But I like this new thing that you have. In that one is, what you call that? That you use. Guitar! Guitar is the one thing I see, that it gives you that beat. And in the all modern music, I’m very happy to know, they’re very particular on the beat. 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 few connoisseurs, you see, it is for the masses. It has to be in rhythmic built in such a way, that the talas 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, it goes with the Anahat, I see. Heartbeat, is the beating of the [vana?], 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 Mahatmyam about me, that very particular about taal. Tala […], tie in the taal. Because we have to be with Spirit, which is in taal, always. You should not go out of tune, you should not go out of tala also. So, whenever you compose any music make a taal, some sort of a beat. Keep to that thing, is better to have the taal, 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. Then in 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. Tala […]. 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 […] played the kind and it turn out to be very nice. You must have heard about, turned out very nice. So let us start with that kind of a thing, when you’re [rooted?] on the guitar [tied?], have beats there. You will see that it will make a wonderful 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 this 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 […], because you must be the guitarist, always. 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 to play. It’s very good, it keeps the rhythm on. Guitar must be there. Like a tabla, the tabla is more complicated as you see, that it has got so many… But Indian music cannot be without rhythm. First of all they have the vistara, the expansion. But then, it must be built. If you doesn’t play with tala, you are not regarded as a musician. You must have tala. Because it has something to do with Shiva, it has something to do with your heart, it has something to do with Sahaja Yoga. You have to working with the heart, you tell that. [Gregoire translates to french…] 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 Saharara it is Ni, just imagine. In Sanskrit, in our Indian music we call it Ni, before the, which she comes to the final taal. So these seven notes are played by Kundalini and the tala is done by the Spirit. [Gregoire translates to french…] So now if you start singing this is […] and all that left sided you start [blowing/flowing?]. then you start breaking [UNCLEAR] 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. [Gregoire translates to french…] 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, I would say of the jungles, like dam dam dam…, like that, we cannot have. Because that may be for the woods. 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. [Gregoire translates to french…] Moreover the music should not be like, ki-ki-ki again stop, ki-ki-ki again stop, is not [UNCLEAR]. Because there should be continuous flow on the Kundalini, otherwise she doesn’t understand. [Gregoire translates to french…] Say, it should be continuous music, but of course if the […] is there you can have a little pause. But it should not be that you are breaking every note. [Stand outs?…] 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, one sentence to another sentence. But once you have come to a […], means you have done one rising, then for the second one again the same style. It should not be that somewhere you go straight very fast, then just stop for nothing at all. [Gregoire translates to french…] 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, it should be expressed in a most purposeful manner. [Gregoire translates to french…] Then only you will see that your Kundalini itself is reactive. [Gregoire translates to french…] And the Kundalini of others also will react to it. [Gregoire translates to french…] So what is the end of it now, let’s have one more? End of it. The last one, we can sing all together. All right, on the… […] You see, the praise of god and when you are praising the god you have to use all the instrument. You have to use all styles, but keeping to the mariadas that you are praising god. It’s a very nice bhairavi rag […] the ending of, it’s a very good song also. But now my throat is out, but that you should make. Sahaja Yogis are singing “Jai Jagadambe”. That joy, that joy, innocent complete. May God bless you. I hope already you have reached the Nirvikalpa state. May God bless you. Tomorrow again we’ll meet you here, it’s quite late, doesn’t matter. We’ll meet about 10 o’clock for our Puja. It will be, about 10:30 I will be here, the we’ll have the Puja. For a great Sahastrara day, all right. May God bless you. [Guido asks] We just sing your own 3 Mantras. All right. [Saharara Mantras] May God bless you all. May God bless you all. May God bless you all. Take a bandhan. Tie up your Kundalini, put attention to your Saharara and sleep off.