Learning Support for Chanting the Taittirīya Saṃhitā 7.1.6 – Sarvaguṇa Sampanna Mantra
Karoti Rūpāṇi – Krama Pāṭhaḥ by TKV Desikachar combined with Jaṭā Pāṭhaḥ by Sujaya Sridhar.
– Private Recording of TKV Desikachar and Sujaya Sridhar by Paul Harvey
– To Download or Listen
– To Download the Chant Sheet in Romanised Saṃskṛta with Notations

Link to Veda Mantra Chanting Practice – PDF & MP3 Support Resources

Learning Support for Chanting the Taittirīya Saṃhitā 7.1.6 – Sarvaguṇa Sampanna Mantra
Karoti Rūpāṇi – Krama Pāṭhaḥ.
From my personal library of recordings of my teacher.
– To Download or Listen
– To Download the Chant Sheet in Romanised Saṃskṛta with Notations

Link to Veda Mantra Chanting Practice – PDF & MP3 Support Resources

Learning Support for Chanting the Taittirīya Saṃhitā 7.1.6 – Sarvaguṇa Sampanna Mantra
Karoti Rūpāṇi – Saṃhitā Pāṭhaḥ.
From my personal library of recordings of my teacher.
– To Download or Listen
– To Download the Chant Sheet in Romanised Saṃskṛta with Notations

Link to Veda Mantra Chanting Practice – PDF & MP3 Support Resources

Correct vibrational intonation was an important emphasis within all aspects of Mantra initiation and there was a strict process in the transmission of a Mantra lest the vitality of the Mantra becomes increasingly diminished if the vibration is compromised at any level.

As with all aspects of a personal practice, Krishnamacharya and Desikachar taught Mantra within a private and individual initiation with a specific Vinyāsa Krama, which would mean that by the time it came to introduce the Mantra as a form of Japam the student was prepared and capable to both hold and sustain a mental consistency and vibratory resonance.

The nine-night long Nava Rātri, an important occasion in India, is celebrated as a time to honour the Divine Feminine, especially the Goddess Durgā within the Indian tradition. It will commence today Monday 26th September 2022, the first day of the month of Aśvin, according to the Hindu calendar. During this time the primary focus is Durgā manifesting through three primary aspects of the Divine Feminine.

Thus for the first three nights the focus is around the Divine Feminine in her power-bestowing aspect known as Durgā. For the second three nights the focus is around the Divine Feminine in her prosperity-bestowing aspect known as Lakṣmī. For the third three nights the focus is around the Divine Feminine in her wisdom-bestowing aspect known as Sarasvatī.

Śrī TKV Desikachar 1938-2016

In Memorium August 8th 2020

Learning Support for Chanting the Nārāyaṇa Sūktam

– From the Taittirīya Upaniṣad Chapter 4 verses 25-27 in the Mahānārāyaṇaya Upaniṣad
An offering for this day from my personal library of recordings from my studies with TKV Desikachar.
To Listen or Download the Nārāyaṇa Sūktam as an MP3 Sound File
To Download the Chant Sheet with Romanised Saṃskṛta and Chant Notations

Guru Pūrṇimā

This particular full moon day is known as Guru Pūrṇimā. On this day the ongoing transmission from teacher to student is especially honoured. In previous years I have offered posts with chants honouring the lineage of teachers.

This year I would like to focus on the significance of the full moon within this day by offering a chant known as the Candra Namaskṛtya Mantra.

oṣadhayaḥ saṃvadante somena saha rājñā ‖
– Taittirīya Saṃhitā 4.2.6

This day, for so long TKV Desikachar‘s birthday, is the third since his passing in August 2016.
In memoriam, as an offering of respect and fond remembrance, is a chant he composed for Western students as a condensed highlighting of the key concepts within the inquiry into the Pañca Maya, contained within Chapter Three of Taittirīya Upaniṣad known as the Bhṛguvallī.

Listed below are the links to both a text file and a sound file from my personal library of recordings with TKV Desikachar. This particular one is recorded with one of his senior chant students, Sujaya Sridhar.

View or Download the Long Version of Mā Aham as a PDF with notations
Listen or Download the Long Version of Mā Aham as an MP3 Sound File

Mostly we are introduced to the teachings of the Yoga Sūtra through a group class situation, or by coming across a book. This is fine as a starting point, however longer term we need to engage a Sādhana that can facilitate its wisdom teachings radiating from the inside out rather than just permeating from the outside in.

A good starting point for initiating this psychic process is to learn how to chant as a practice in itself and then how to chant the Yoga Sūtra specifically. As well as offering a deepening of contact with those special Bhāvana that arise from chanting, this can also be extremely helpful for the memory processes involved.

These two steps in the embracing chant as a Sādhana ideally require a personal teacher, especially one who can listen and identify our individual nuances in how we repeat what we think we hear. From there they can offer a Vinyāsa Krama for cultivating our vocal potential and refining our skills in terms of self-listening and thus facilitating our abilities in terms of self-correction.

However accepting that for some this may not be a possibility at this point in time, three suggestions are offered below as progressive options for starting a self-learning process

Unlike other aspects of our personal Sādhana, when it comes to the practice of Jñāna Adhyayanam, or the chanting of the Yoga Sūtra, there is an unusual developmental process in that as we refine this aspect of practice it take less and less time.

Obviously the first step is to commit to learning to be able to chant the four chapters of the Yoga Sūtra, along with the relevant opening invocations and closing invocations. Once we have this basic accomplishment in place then taking our seat and chanting the whole text, within a Vinyāsa Krama by including the accompanying invocatory chants, will take around 35-40 minutes.

असतो मा सद्गमय |
तमसो मा ज्योतिर्गमय |
मृत्योर्मा अमृतं गमय ‖

asato mā sad gamaya |
tamaso mā jyotir gamaya |
mṛtyor mā amṛtaṃ gamaya ‖

Learning Support for Chanting the Pavamāna Mantra – Asato Mā Sadgamaya
From my personal library of recordings from my studies with TKV Desikachar
To Download or Listen to an MP3
To Download a PDF Chant Sheet with Romanised Saṃskṛta, Chant Notations and Translation

Guru Pūrṇimā

The convention of Paramparā or ongoing transmission from teacher to student
is especially honoured annually on this particular full moon day called Guru Pūrṇimā.

The chant below is from traditional prayers chanted at the beginning of any textual studies.
It honours ones teacher and their teacher and their teacher and so on in time memorial.

The recording below by TKV Desikachar I made within lessons over 30 years ago
and is offered as a downloadable MP3 along with a notated chant sheet.

gurubhyastad gurubhyaśca
To my teacher and all their teachers

namo vākamadhīmahe |
I salute through my words

vṛṇīmahe ca tad rādyau
Lauding and that first

dampatī jagatāṃ pati ‖
couple world Lord of

To my teacher and all their teachers
I salute through my words.
Lauding not only them, but the first
couple, Lord of the world.

– Śrī Gurubhyo Namaḥ –

View or Download Gurubhyastad Gurubhyaśca Opening Prayer PDF with notations

Listen or Download Gurubhyastad Gurubhyaśca Opening Prayer MP3 Sound File

Gaṇapati or Gaṇeśa is traditionally seen throughout India as
the ‘Remover of Obstacles’ and ‘Lord of Beginnings’.

He is honoured at the beginning of rituals and invoked as the patron of letters
(legend describes Gaṇeśa as the scribe who wrote the Mahābharata from the dictation of Vyāsa).

As such he can be viewed as the writer of ones destiny.

Taittirīya Saṃhitā 2. 3. 14
– Saṃhitā Pāṭhaḥ or Mūla Mantraḥ

oṃ gaṇānāṃ tvā gaṇapatigṃ havāmahe
kaviṃ kavīnāmupamaśravastamam |
jyeṣṭharājaṃ brahmaṇāṃ brahmaṇaspata
ānaśśvannūtibhissīda sādanam ||
śrī mahāgaṇapataye namaḥ ||

“We invoke thee, O leader of all the hosts.
The wisest of the wise.
The Sage of Sages with treasures beyond measure.
The King of Brilliance. The lead chanter of prayers.
Come with your blessings, listen to our prayers.
Have a seat in our sacred space.”

taittirīya saṃhitā V. 4. 12.
mahāmṛtyañjaya mantra – saṃhitā pāṭhaḥ

tryambakaṃ yajāmahe sugandhiṃ puṣṭivardhanam |
urvārukamiva bandhanānmṛtyormukṣīya mā‘mṛtāt ||

“We worship the three-eyed Lord who is fragrant
and who nourishes and nurtures all beings.
Like the pumpkin I am bound.
Liberate me from death for immortality.”

Put simply:

“Śiva sever my pumpkin so I can be free after death.”

View or Download this post as a PDF
View or Download the Mṛtyañjaya Mantra in Romanised Saṃskṛta with notations and chant extensions
Listen or Download the Mṛtyañjaya Mantra as a sound file from my personal collection of recordings

Six Verses on Nirvāṇa

They are said to have arisen as a spontaneous response to the question “Who Am I”
With the climax of each of the six verses:
Cit Ānanda Rūpaḥ Śiva Ahaṃ Śiva Ahaṃ
That Form of Pure Awareness and Bliss, I am Śiva, I am Śiva

From my personal library of recordings from my studies with my teacher TKV Desikachar.
To Download or Listen
To Download the Chant Sheet with Romanised Saṃskṛta and Translation

सर्वे भवन्तु सुखिनः ।
सर्वे सन्तु निरामयाः ।
सर्वे भद्राणि पश्यन्तु ।
मा कश्चित् दुःख भाग्भवेत् ॥

sarve bhavantu sukhinaḥ |
sarve santu nirāmayāḥ |
sarve bhadrāṇi paśyantu |
mā kashchit duḥkha bhāgbhavet ‖

May all be happy
May all be free from illness
May all see what is auspicious
May no one suffer

Learning Support for Chanting Sarve Bhavantu Sukhinaḥ
From my personal library of recordings from my studies with my teacher TKV Desikachar
To Download or Listen
To Download the Chant Sheet with Devanāgari, Romanised Saṃskṛta and Translation

This post follows on from yesterday’s post introducing the use of and intention within the practice of closing chants that follow the study of chanting, or the study of associated Yoga texts. Traditionally chant practice or textual study was also preceded with an invocatory passage to help forge a link between the chanters, what is about to be chanted and its purport, as well as setting a context for study.

Thus each area of study that the teacher and student were about to venture into was preceded by an appropriate Dhyānam Ślokam, or set of verses that specifically linked the chanters with that particular area of study or practice. Therefore the opening verses would differ according to whether the focus was Veda Chanting, the Upaniṣat, the Bhagavad Gītā, the Yoga Sūtra, etc.

Veda Chanting Short Closing Prayer

In this lineage this particular dedication is a vital part of the closing process within a chant practice or textual study context and was important to and constantly used by Krishnamacharya throughout his life.

He also taught it to those of his direct students who studied chanting or the chant practices inherent in the study of associated Yoga texts with him within a traditional learning setting.

It is also called a Sāttvika Tyāga. This relates to the concept of not giving up the action, just changing your relationship with your expectations around the fruits of the action. This Bhāvana is inherent in the meaning of the chant and is linked to the teachings around the surrender of the self.

Further reflections on Krishnamacharya’s teachings on the concept of Sāttvika Tyāga within the Bhagavad Gītā will be offered within a future post.

kāyena vācā manasendriyairvā
budhyātmanā vā prakṛteḥ svabhāvāt |

karomi yadyatsakalaṃ parasmai
nārāyaṇāyeti samarpayāmi ||

sarvaṃ śrī kṛṣṇārpaṇamastu ||

” My body, speech, mind, senses,
intellect, essence, or outer and inner tendencies,

All that I will do over and over,
to the supreme Nārāyaṇa I offer.”

“All to the esteemed Kṛṣṇa I consign,
let it be so.”

View or download this Chant and Translation as a PDF.
View or download this post Chant and Translation with chanting notations as a PDF.

Learning Support for Chanting the Taittirīya Saṃhitā 2.3.14
– Gaṇapati Prārthanā Saṃhitā Pāṭhaḥ.
From my personal library of recordings from my studies
with my teacher TKV Desikachar.
To Download or Listen
To Download the Chant Sheet in Romanised Saṃskṛta with Notations