Vaishnav Sangh Academy Kirtan Vidyapeeth Year One Vaishnav Sangh of USA Website: www.vaishnasanghusa.org Follow
Vaishnav Sangh of USA Vaishnav Sangh Academy (USA) Founder & Inspirer P.P. 108 Shri Dwarkeshlalji Mahodayshri (Kadi-Ahmedabad) Vaishnav Sangh of USA with the blessings was founded by P.P. 108 Shri Dwarkeshlalji Mahodayshri (Kadi-Ahmedabad) in May 2020 with the sole aim of providing suddha Pushtimarg knowledge and understanding Shri Mahaprabhuji principles. After initial months, Aapshri vision of passing the knowledge and involving young, adults and senior vaishnav initiated Vaishnav Sangh Academy(USA) and under the umbrella of VSA-USA, started variety of classes such as Baal Pushti (3-7yrs), Kishore Pushti (8-12yrs), Baal Kishore Vaishnav Sangeet Classes (6-14yrs), Yog Vidyapeeth and Kirtan Vidyapeeth and make VSA-USA the pioneer in establishing variety of Pushtimargiya related education center with certificate courses at the end of every year and subsequently a certificate program for all subjects. kirtan Vidyapeeth sole goal is to teach Vaishnav Ashtasakha kirtan and learn the meaning and thus help in daily Thakorji seva with more deeper understanding, love, and affection. All the kirtankar teaching in the institution are very closely chosen and selected by Aapshri and under JJ Shri guidance the course has been developed. So, vaishnav come and learn the true meaning of kirtan, ragas and taal. 2 www.vaishnavsanghusa.org
INTRODUCTION Pushti-Bhakti Marg is established by Jagadguru Shrimad Vallabhacharya. In this Marg, Shree Thakorji various Leela's pads, are sung in many different Raags and Taals, known as Haveli Sangeet. Sangeet has been given the topmost place in our Suddha Dvait Pushtimarg. Unlike other sampradayas, our pustimarg's kirtan gaan pranalika is a very distinguished vision. In it, Suravali of Sangeet's Swar, Purity of Raag, systematic Rhythm of Taal, time limit of a Tune's diversity and Drupad style poetic creation can be seen. Also, one can see Literature’s. grandness , Rus and Raag's harmoniousness , and ancient Vraj language. Our Seva Prakar is divided into 2 modes, Morning & Evening time. Similarly, the Raags in kirtan are also distinguished according to the time of the day. There are different raags for Morning & Evening. It is hard to get knowledge of the Gayaki through musical notation (swarlipi) because sangeet is Gurumukhi seva which is attained only after years of self-discipline and efforts. In the present time a humble effort is made to connect kirtan with swarlipi. Pushti -Bhakti sangeet, famously known as Haveli Sangeet, is an enormous gift from Shree Gusaijiprabhucharan. Shree Gusaiji brought richness in the Sevakram and increased the Sevakram. 1 www.vaishnavsanghusa.org
In 1602, he formed the Ashtachaap Mandal. He appointed Kumbhandasji, Surdasji, Parmananddasji, Krushnadasji, Vishnudas Chipa, Chitaswamiji, Govinddasji, & Nandadasji to this mandal, to sing kirtans in front of Shree Thakorji. Later, Chaturbhujdasji joined this mandal. Some of the Bhagvadiyas and Acharyakul balakas have also sung padas. Through this valuable gift of kirtan seva by Shree Gusaiji, today Vaishnav can bring lots of happiness to Shree Thakorji , by singing kirtans during Mangla, Shringar, Gwal, Rajbhog, Utthapan, Bhog, Sandhya Arti and Shayan darshan. 2 www.vaishnavsanghusa.org
In Pushtimarg, when Shri Thakorji wakes up in the morning till, he goes back to bed to sing kirtans at different times in front of Shri Thakorji is a custom which is followed till today. When Lord wakes up, partakes mangalbhog, during Shringar, when rajbhog arrives, partakes beeda, when aarti is performed or shayan bhog all times kirtan are sung accordingly in front of Shri Thakorji. For different utsavs (festivals) different types of kirtan traditions are followed. Kirtans are composed on all occasions like Janmashtami, Nand Mahotsav, Hindola, Daan lila, Diwali, Annakut, etc. All this Ashtasakha’s (8 friends) have been blessed with live lila darshans and based on what they see in lila darshan they would compose kirtans. All this kirtans are very aloukik (spiritual). This Kirtans are always sung in front of Shri Thakorji. Following are the names of Ashtasakhas: (1) Kumbhandas (2) Soordas (3) Parmananddas (4) Krushnadas (5) Govindswami (6) Nanddas (7) Chaturbhujdas (8) Chhitswami. All this Bhagavadiya in Nityalila they are Shri Thakorji sakhas (friends) and they play with Shri 34 www.vaishnavsanghusa.org
Thakorji and in Nikunj Lila they perform seva of Shri Thakorji in the form of girls. They had Sakharup and Sakhirup names. Every Ashtasakha has a special interest in different Swarup of Shri Thakorji. All Ashta (eight) Sakhas (1) Kumbhandasji (2) Soordasji (3) Parmanandasji (4) Krushnadasji were Shri Mahaprabhuji’s sevak whereas (5) Govindswami (6) Chhitswami (7) Chatubhujrdas (8) Nanddasji were Shri Gusainji’ sevak. All this sakhas for different reasons and in different circumstances had taken refuge in Shri Mahaprabhuji and Shri Gusainji and became their sevaks and for rest of their lives they performed kirtans in front of ShriNathji and obeyed all orders from their Gurudev. Lord ShriNathji used to play with this sakhas and gave them a lot of spiritual (aloukik) experience. With the infinite grace of Shri Mahaprabhuji and Shri Gusainji, ashtasakhas would experience live lila darshan and accordingly would sing kirtan in front of ShriNathji. Kirtans composed by ashtasakhas are aloukik and when this kirtans are sung our picturization of Shri Thakorji’s lila becomes more stable and both the singer and the listener’s experience anand (bliss). 4 www.vaishnavsanghusa.org
Every vaishnav should sing kirtans composed by ashtasakhas in front of their Shri Thakorji. Shri Thakorji gets pleased by kirtans and we also experience lila bhav by singing kirtans. 5 www.vaishnavsanghusa.org
Ashtasakha Swarup Name on Earth Name in Name in Residence Love in Nitya Leela Nitya Leela Leela Sakha Sakhi Surdasji Krishna Sakha Champak Lata Chandra Maan leela Sakhi Sarowar Parmananddasji Tok Sakha Chandrabhaga Surbhi Kund Baal Leela Sakhi Kumbhandasji Arjun Sakha Vishakha Jamnavata Nikunj Leela Sakhi Krishnadasji Rishabha Lalita Sakhi Bilchu Kund Raas leela Sakha Chatrabhujdasji Vishal / Vimla Sakhi Rudra Kund Annkut Leela Subahu Sakha Nanddasji Bhoj Sakha Chandra Mansi Ganga Kishor Leela Rekha Sakhi Chhitswamiji Subal Sakha Padma Sakhi Apsara Kund Shringar Leela Govinddasji Shridama Bhama Sakhi Airavat Kund Hindola Sakha Leela 6 www.vaishnavsanghusa.org
Shri Surdasji (1479-1583) Residence: Chandra Sarovar Sakharupname: Krushna Sakhirupname: Champaklata Kirtantime: Uthapan Pad Created: 1,25,000 Interest in which swarup: Lord Shri Mathureshji Location in Shri Girirajji: Parasoli Shri kumbhandasji (1469-1584) Residence: Govardhan Sakharupname: Arjun Sakhirupname: Vishakha Kirtantime: Rajbhog Pad Created: 400 Interest in which swarup: Lord Shrinathji Location in Shri Girirajji: Jamunvat 7 www.vaishnavsanghusa.org
Shri Parmanandasji (1494-1585) Residence: Surbhi Kund, Jatipura Sakharupname: Tok Sakhirupname: Chandrabhaga Kirtantime : Mangala Pad Created: 200 Interest in which swarup: Lord Shri Navneetpriyaji Location in Shri Girirajji: Surbhikund Shri Krushnadasji (1498-1582) Residence: Bilchukund Sakharupname: Rushabh Sakhirupname: Lalita Kirtantime: Shayan Pad Created: 700 Interest in which swarup: Lord Shri Madanmohanji Location in Shri Girirajji: Bilchunkund 8 www.vaishnavsanghusa.org
Shri Govindswami (1506-1586) Residence: Mahavan, Gokul Sakharupname: Shridama Sakhirupname: Bhama Kirtantime : Gwal Pad Created: 200 Interest in which swarup: Lord Shri Dwarkadhishji Location in Shri Girirajji: Kadamkhandi Shri Chatubhujrdasji (1541-1586) Residence: Govardhan Sakharupname: Vishal Sakhirupname: Vimla Kirtantime : Bhog Pad Created: 200 Interest in which swarup: Lord Shri Gokulnathji Location in Shri Girirajji: Rudrakund 9 www.vaishnavsanghusa.org
Shri Chhitswami (1516-1586) Residence: Punchhari, Govardhan Sakharupname: Sulabh Sakhirupname: Padma Kirtantime : Aarti Pad Created: 300 Interest in which swarup: Lord Shri Vitthalnathji Location in Shri Girirajji: Apsarakund Shri Nanddasji (1534-1586) Residence: Mansi Ganga Sakharupname: Bhoj Sakhirupname: Chandrarekha Kirtantime : Shringar Pad Created: 400 Interest in which swarup: Lord Shri Gokulchandramaji Location in Shri Girirajji: Manasiganga 10 www.vaishnavsanghusa.org
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SHASTRIYA INFORMATION SANGEET According to Bhartiya Sangeet Shastra, there are 7 main Swars: Sa, Re, Ga, Ma, Pa, Dha, Ni. Sa: root name is Shadaj. Similarly, Re is Rishabh, Ga is Gandhar, Ma is Madhyum, Pa is Panchum, Dha is Dhaivat, Ni is Nishad. The group of 7 Swar is called Saptak (Octave). There are 3 main Spartak’s: 1) Mandra Saptak-heavy voice comes out. 2) Madhya (medium) Saptak-a normal voice in which we regularly talk. 3)Taar Saptak- has an exceptionally fine voice. Saat Swars are divided into 2: one is Achal, and another is Chal. By bringing the Sudha Swar somewhat down(low voice),it becomes \"Komal “and by bringing it little high, it becomes “Tivra\". Sa ,Re ,RE, Ga, Ga, Ma ,M'a, Pa, Dha, Dha, Ni, Ni, thus one Saptak has 7 Sudha Swars and 5 Swars are changed that makes 12 Swars. Re, Ga, Dha, Ni being changed, they are \"Komal “Swars. Ma(madhyam) Swar being changed is called \"Tivra\" Swar. Sa and Paare both Achal Swars. 18 www.vaishnavsanghusa.org
RAAG A unique creation (Rachana) of a sound is called Raag. The Swars and Letters adorned together to give pleasure to one's mind is called Raag. Main rules for Raags are: 1) Pleasantness in Raag is a must. 2) In Raag, Vadi-Samvadi, Aroha-Avraha, Swar etc. are Nippshaka. 3) There must be at least 5 Swars. 4) The Madhyam (Ma) and Pancham (Pa), both Swars cannot be missing at the same time. 5) In Raag, two forms of one (same) Swar cannot exist. Vadi, Samvadi, Anuvadi and Vivadi 1) In Raag, the Swar that is used the most is called Vadi Swar. It is called the King of Swars. 2) The next important Swar after Vadi, is called Samvadi Swar. It is considered as the Minister of Swars. 3) Apart from Vadi and Samvadi Swars, all the other Swars are called Anuvadi Swars. They are like Sevak of Swars. 4) A Swar that can be harmful to Raag or can ruin the beauty of a Raag ,is called Vivadi Swar. That is why ,Vivadi Swar ,is eliminated from Raags. But still some expert and particularly good singers, to beautify the Raag, sometimes try to use this it in a hidden way. www.vaishnavsanghusa.org
INTRODUCTION OF SWARLIPI 1) There are no signs or symbols for a Sudha Swar - like Ga, Ma. 2) The Swars with a line under them ,are to be considered as Komal Swar- i.e., Re, Ga, Dha, Ni hDa Ni. 3) Swars with a vertical line above them, are Tivra Swar, like M a. 4) Swars that have dot under them are of Mandra Saptak - Dha, Ni. 5) Swars that have dot on top of them are of Taar Saptak. Sa, Re Ga. 6) This sign -- after the Swar, means that , that Swar can only be lengthen for that matra, like Sa - Re - 7) To go and come back from one Swar to another, there will be this symboI, like MaRe. 20 www.vaishnavsanghusa.org
SYMBOLS OF TAAL 1) The sign X shows equal or similarity in playing and singing. In Taal first Matra or first Taali are called equal or same. 2) The sign 0 is for blank. 3) Numbers 2,3,4 accordingly shows second, third, fourth Taali. 4) This sign I ( a vertical line) , is for each section or part. TAAL. LAYA AND MATRA Taal As much as Sangeet is dependent on Swar, it is also dependent on Taal. In Sangeet, Taal is very important. Without Taal, the physical expression or gestures are not properly expressed. The rule influenced in the action of singing, playing an instrument or dance, is called Taal. It is done by clapping with both hands at regular interval. Leaning the one hand downward is called Khaali. LAYA In singing, the speed of Taal is known as Laya. There are 3 different Layas : 1) Vilambit Laya, 2) Madhya Laya, and 3) Drut Laya. Madhya (medium) Laya is double the speed of Vilambit Laya and Drut Laya is faster than Madhya Laya. 21 www.vaishnavsanghusa.org
MATRA A song's timing, that is to say, to measure Taal is called Matra. Laya is protected by Matra. 22 www.vaishnavsanghusa.org
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