Introduction to Vedic Chanting

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Pandit Ub.Ve Sri Rama Ramanuja Achari

srimatham.com 13:09:2013

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IIINNNTTTRRROOODDDUUUCCCTTTIIIOOONNN PARIS, FRANCE, November 12, 2003: The oral tradition of Vedic chanting has been declared an intangible heritage of humanity by UNESCO. In a meeting of jury members on November 7, 2003, at Paris, Mr. Koichiro Matsuura, Director-General of UNESCO, declared the chanting of Vedas in India an outstanding example of heritage and form of cultural expressions. The proclamation says that in the age of globalization and modernization when cultural diversity is under pressure, the preservation of oral tradition of Vedic chanting, a unique cultural heritage, has great significance. The jury members included Dr. Richard Kurin, Director of the Center for Folklore and Cultural Heritage of the Smithsonian Institution (United Nations), Mr. Juan Goytisolo, Writer (Spain), Mr. Yoshikazu Hasegawa (Japan), Ms. Olive W.M. Lewin. Pianist, ethnousicologist, Director of the Jamaica Orchestra for Youth (Jamaica). The UNESCO declaration will bring international recognition to the excellence of the Vedic chanting tradition of India, which has survived for centuries encoding the wisdo contained in the Vedas through an extraordinary effort of memorization and through elaborately worked out mnemonic methods. The purity and fail-safe technique devised for Vedic chanting in the olden days led to access to one of the ancient literatures of humanity in its entirety today. The Department of Culture, Ministry of Tourism and Culture, took the initiative to put up the candidature of the Vedic chanting to UNESCO. A presentation was prepared by Indira Gandhi National Centre for Arts. The Department has also prepared a five-year action plan to safeguard, protect, proote and disseminate the oral tradition of Vedas in terms of their uniqueness and distinctiveness, encourage scholars and practitioners to preserve, revitalize and proote their own branch of Vedic recitation as the custodians of their own traditions and direct the efforts primarily to making the tradition survive in its own context.

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DDDIIIVVVIIISSSIIIOOONNNSSS OOOFFF TTTHHHEEE FFFOOOUUURRR VVVEEEDDDAAASSS he Veda is considered to be infinite [ananto vai vedh] in the beginning of creation there was only one Veda and the number of revealed texts was far greater than we could imagine, during the course of time due to the diminishing intelligence of mankind as

well as declining in strength health and loss of faith, many texts were lost and the Veda that is known today is a mere fraction of the original Veda. Towards the close of the Dvpara Yuga, it is believed, the Lord manifested as the sage Veda Vysa, who in order to save the Veda fro extinction, re-edited the Veda dividing it into 4 units. Each unit was assigned to different classes of brahmins so that it would be easier to preserve them. These 4 books are known as the Rik, Yajur, Sma and Atharvana Vedas. Seeing that only the first 3 orders of society had access to the Vedas this excluded over half the population which consisted of women and Sdras fro spiritual knowledge. It is for their benefit that the Holy Sage compiled the Puras and the Itihsas [Rmyaa and Mahbhrata which is known as the Fifth Veda]. Had it not been for the work of this great Rishi, humankind with its deteriorating intellectual capacity would have forgotten this massive sacred heritage. Veda Vysa had 4 disciples and to each of them he taught one Veda. Paila mastered the Rik veda, Jaimini the Sma Veda, Vaiampyana the Yajur Veda and the Atharvana Veda was learnt by Sumantu. Roaharana was entrusted with the duty of transmitting the Puras and Itihsas. The Vedas transmitted by these sages to their disciple and in turn by the latter to theirs resulted in the Vedas becoming diversified into many branches or schools through the disciplic succession. Each of the Vedas is divided into Sahita, Brhmaa, Arayaka and Upaiad. The Sahita is the text which comprises of hymns used in the sacrifices. The Brhmaas are the theological treatises which deal with the sacrificial details and gives the interpretation of the ritual. The Arayakas and the Upaiads deal with a variety of topics related mainly to cosmology and philosophy. In addition each Vedic school had its own Ghya Stra which dealt with the performances of the domestic rites and sacraments and its own rauta stra which dealt with the public rituals and sacrifices of national import.

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VEDIC CHANT he Vedic Chant is the oldest form of psalmody known. Very strict and complex methods of instruction have made it possible to preserve the ritual chant unchanged, despite thousands of years of wars, conquests and social upheavals.

The Rig Veda is chanted on 3 notes, the Yajur Veda on up to 5 notes and the Sma Veda on 7 notes. The Sma is the only chant that is considered really musical per se and as such is considered to be inferior to the other two Vedas. Because of it's 'worldly' character it is often forbidden in certain rituals. It is also prescribed that if the Sma Veda is heard while the other two are being recited then the recitation should stop immediately and only continue after the Sma has terminated.

According to the Taittiriya Upaiad ik-vai there are 6 main factors that need to be taken into consideration:

1. Vara pronunciation Correct pronunciation of the letters of the alphabet. Differentiation between short and long vowels. Sandhi Anusvara () changes according to the letter that follows it.

When followed by changes to ka kha ga gha a ca cha ja jha a a ha a ha a ta tha da dha na n pa pha ba bha ma m Any vowel sa a a ha ya ra gu samyukta akara (combined letter) gg

Visarga () also changes When followed by sa, a, a, the visarga changes into those letters. When followed by a p it changes into pha

2. Svara notes The sma veda uses 7 musical notes. Chanting of the k, yajur and atharvana veda is done using 3 notes only.

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Udtta the raised note indicated in the text by a vertical stroke over the letter. (a ) Anudtta the lowered note indicated by a line under the letter. (a ) Svarita the neutral drone which is not indicated in the text (a) Nigdha a deviant note which is based on the udtta and is like a double udtta with the second being slight raised above the first. In the ka yajur veda it is usually marked by double perpendicular stokes above the letter.

(a )

The udtta changes into a nigdha in the following situations: When a mantra ends in a long udtta When a mantra ends in a anusvara which carries the udtta When the udtta is followed by a samyuktkara (combined letter such as k, stha, tv, r, etc.

3. Mtra duration ardha half when a word ends in a halanta.

hrasva short (the short vowels a, i, u, & ) drgha long (, , , e, ai o & au sometimes indicated by the digit 2 after the letter in a text)

pluta extra long indicated by the digit 3 after the syllable

U IU3 UI3 | 4. Balam emphasis Alpa pra soft these are all the regular vowels and consonants.

Mah pra hard these are all the aspirated consonants also a and ha.

5. Sma continuity One must ensure a continuity and smooth flow of the chanting.

6. Santna punctuation One must pause at the appropriate places - commonly indicated by (|) In addition a slight pause is required:

After chanting OM When a word ends in a vowel and is followed by a vowel. When a visarga () is followed by ka

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TTTHHHEEE VVVEEEDDDIIICCC AAACCCCCCEEENNNTTT All the Vedic texts as well as in two Brhmaas Taittiriya [and its Arayaka] and the atapatha Brhmaa [including the Bhadarayaka Upaiad] are marked with the accent [svara]. The Vedic chant is based upon these accents or svaras and consists of basically 3 notes; The chief tone is the Udtta [raised] the other two being the Svarita [drone] and the Anudtta [low].

Textual Markings; There are 4 different methods of marking the svaras in the texts. In the Rik, Yajur and Atharva Vedas and the Taittiriya Sahita & Brhmana the svarita is not marked at all because it is the middle pitch.

The preceding anudtta is marked by a horizontal stroke below the syllable, and the following udtta is marked by a perpendicular stroke above the syllable, two perpendicular strokes together mean that there is an elongated double raised sound -nigdha. In some texts the udtta is marked by a crescent above the syllable, when this is done then the elongated double sound is marked by a singular perpendicular line.

The place of the principle accent the svarita is governed by grammatical rules. A udtta always follows an svarita and is called the 'enclitic udtta. When an svarita is lost due to an euphonic combination [sandhi] of the vowel into the corresponding semi-vowel e.g. kva = kua then the udtta is called the 'independent udtta.

When an independent udtta is placed immediately before an svarita then it is accompanied by the numeral 1 if the vowel is short and by the numeral 3 if the vowel is long; the numeral itself being marked with both the udtta and the anudtta.

In the Sma Veda the figures 1, 2, & 3 are written above the accented syllable to mark the svarita, udtta, & anudtta respectively.

When there are 2 successive svarita then the second is not marked but the following udttas has a 2r written above. The independent udtta is also marked with a 2r, and the preceding anudtta is marked with a 3k.

A peculiar feature of the Vedic chant is that the anusvara changes to a GU before the following letters; a, ha, sa, sa, & r.

Example; sahita = saguhita, (` = ` ) pada sad = padagu sad (U` I = U` I )

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VVVAAARRRIIIAAANNNTTT FFFOOORRRMMMSSS OOOFFF VVVEEEDDDIIICCC CCCHHHAAANNNTTT Vedic recitation has assumed two distinct forms that evolved to preserve its immutable character: Prkti and Vikti with sub-forms. The pda pha forms the basis of a number of special recitations known as 'vikriti' or 'crooked' recitations. The text is recited backwards or forwards or the successive words are chanted in specific combinations. These were originally designed to prevent the student fro forgetting even one letter of the text, however through the ages these mnemonic techniques became an end in themselves.

Prkti 1. Sahita pha continuous recitation

F U UIU U@ U IU I |

2. Pda pha word for word recitation 1/2/3/4/5 1 2 3 4 5 6 7 8

| | | @ | | | | |

vsyam ida sarva yat kica jagaty jagat 3. Krama pha words recited in pairs 1 2 / 2 3 / 3 4 / 5 6 / 7 8 /.......

1 + 2 2 + 3 3 + 4 4 + 5 5 + 6 vsyam vsyam ida idagu sarva sarva yat yat kica In the Prkti form the words do not change their sequence

Vikti There are 8 traditional vikriti combinations which are;

ja; 1 2 2 1 1 2 / 2 3 3 2 2 3 / 3 4 4 3 3 4 / 4 5 5 4 4 5 / ......... ml; 1 2 / 2 1 / 1 2 / 2 3 / 3 2 / 2 3 / 3 4 / 4 3 / 3 4 / ........ ikh; 1 2 2 1 1 2 3 / 2 3 3 2 2 3 4 / 3 4 4 3 3 4 5 / 4 5 5 4 4 5 6 / .......... rekh; 1 2 / 2 1 / 1 2 / 2 3 4 / 4 3 2 / 2 3 / 3 4 5 6 / 6 5 3 4 / 3 4 / 4 5 6 7 8 / 8 7 6 5 4 / 4 5 / 5 6 7 8 9 10 / 10 9 8 7 6 5 / 5 6 / ...... dhvaja; 1 2 / 99 100 / 2 3 / 98 99 / 3 4 / 97 98 / 4 5 / 97 98 / 5 6 / 96 97 / ....... 97 98 / 3 4 / 98 99 / 2 3 / 99 100 / 1 2 .

daa; 1 2 / 2 1 / 1 2 / 2 3 / 3 2 1 / 1 2 / 2 3 / 3 4 / 4 3 2 1 / 1 2 / 2 3 / 3 4 / 4 5 / 5 4 3 2 1 ................

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. ratha; 1 2 / 5 6 / 2 1 / 6 5 / 1 2 / 5 6 / 2 3 / 6 7 / 3 2 1 / 7 6 5 / 1 2 / 5 6 / 2 3 / 6 7 / 3 4 / 7 8 / 4 3 2 1 / 8 7 6 5 /..... ghana; 1 2 2 1 1 2 3 3 2 1 1 2 3 / 2 3 3 2 2 3 4 4 3 2 2 3 4 / 3 4 4 3 3 4 5 5 4 3 3 4 5 / ........

SSSTTTYYYLLLEEESSS OOOFFF VVVEEEDDDIIICCC CCCHHHAAANNNTTTIIINNNGGG In India today there are 3 distinctive styles of Vedic chant;

1. Maharra Brahmins

2. Tamil Brahmins

3. Nambudiri Brahmins of Kerala

The northern tradition is characterized by a preponderance of the Sukla Yajur Veda of the Madhydina recension, The Rik Veda of the Sakala recension and Sma Veda of the Kauthuma Ranayaniya recension and very little Atharva Veda. The Southern tradition is characterized by the Ka Yajur Veda of the Taittiriya recension, along with the Rik and Sma Vedas of the same school. Atharva Veda is non-existent in the south. In the Nambudiri tradition the Rik Veda belongs entirely to the Vskala recension [Kauitaki]. The Yajur Veda is exclusively Taittiriya but the recitation differs fro that of the Tamils. The Sma Veda belongs entirely to the Jaiminiya school which is not found elsewhere. MUDRAS When teaching the method of chanting there are certain movements of the hands which are designed to help the memory; 1. udtta - right hand to shoulder anudtta - hand to knee

svarita - hand moved to 45 degree angle to the body 2. udtta - head up anudtta - head down svarita - head turned slightly to the side

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3. udtta - palm turned up anudtta - palm down svarita - hand moved horizontaly to the right 4. udtta - thumb on index finger anudtta - thumb on little finger svarita - thumb on ring finger

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CCChhhaaannndddaaasss MMMEEETTTRRREEE...

Rhyme is not used in the Rig-veda.

The metres are regulated by the number of syllables akaras in the stanza (k), which consists generally of 3 or four Pdas, measures, divisions, or quarter verses, with a distinctly marked interval at the end of the second Pda, and so forming two semi-stanzas of varying length. The most common metres consist of 8, 9, 10, 11, 12, syllables (akaras) is each pda these are known as anuubh, bhati, pakti, triup, jagati. The anutubh is the prevailing form of metre in the Dharma-sastras, the Mahabharata, the Ramayana, and all the Puranas. The Pdas of a stanza are generally of equal length and of more or less corresponding prosodial quantities: but sometimes two or more kinds of metre are employed in one stanza, and then the Pdas vary in quantity and length. Summary of the Metres

1. Astup, anuup or Anuubh: 4 Pdas of 8 akaras each, 2 Pdas forming a line.

Jayanti magal kali, bhadra kal kaplin | durg iv kam dhtr, svh svadh namostu te ||

2. Tristup or Tristubh: = 4 Pdas of 11 akaras each.

gurn ahatv hi mahnubhvn reyo bhoktu bhaikyam apha loke | hatvrtha kms tu gurn ihaiva bhujya bhogn rudhira-pradigdhn || 5 ||

3. Pakti: 5 Pdas of 8 akaras like Anuup with an additional Pda.

4. Gyatri: the stanza usually consists of 24 akaras, variously arranged, but generally as a triplet of 3 Pdas of 8 akaras each, or in one line of 16 akaras and a second line of 8.

o tatpuruya vidmahe | mahdevya dhmahi | tanno rudra pracodayt ||

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Brhati: 4 Pdas ( 8 + 8 + 12 + 8) containing 36 akaras in the stanza.

Jagati: 48 akaras arranged in 4 Pdas of 12 akaras each, 2 Pdas forming a line or hemistich.

Anuup Pipilikamadhya: a species of Anuup, having the second Pda shorter than the first and third (8 akaras+ 4+8+ 8).

Anuub-garbha: a metre of the Usnih class: the first Pda containing 5 akaras, and the 3 following Pdas of 8 akaras each.

Nastarupi: a variety of Anuup.

Asti: consisting of 4 Pdas of 16 akaras each, or 64 akaras in the stanza.

Astrapaikti: consisting of 2 Pdas of 8 akaras each, followed by two Pdas of 12 akaras each.

Atidhrti: 4 Pdas of 19 akaras each = 76 akaras.

Atincrti: consisting of 3 Pdas containing respectively seven, six, and seven akaras.

Atiakvari: 4 Pdas of 15 akaras each.

Atyasti: 4 Pdas of 17 akaras each.

Brhati: 4 Pdas ( 8 + 8 + 12 + 8) containing 36 akaras in the stanza.

Purastadbrhati: a variety of Brhati with twelve akaras in the first Pda.

Caturvimsatika Dvipda: a Dvipda containing 24 akaras instead of 20.

Dhrti: consisting of seventy-two akaras in a stanza.

Ekapda Tristup: a Trstup consisting of a single Pda or quarter stanza.

Ekapda Viraj: a Viraj consisting of a single Pda.

Gyatri: the stanza usually consists of 24 akaras, variously arranged, but generally as a triplet of 3 Pdas of eight akaras each, or in one line of sixteen akaras and a second line of eight.

There are eleven varieties of this metre, and the number of akaras in the stanza varies accordingly fro nineteen to 33.

Dvipda Viraj: a species of Gyatri consisting of two Pdas only (12+8 or 10+10 akaras); inadequately represented in the translation by two decasyllabic iambic lines.

Vardhamana: a species of Gayatri; 6 + 7 + 8 = 21 akaras.

Jagati: a metre consisting of 48 akaras arranged in 4 Pdas of twelve akaras each, two Pdas forming a line or hemistich which in the translation is represented by a double Alexandrine.

Atijagati: 4 Pdas of 13 akaras each.

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Kakup or Kakubh: a metre of 3 Pdas consisting of 8, 12, and 8 akaras respectively.

Kakubh Nyakusira; consisting of 3 Pdas of 9+12+4 akaras.

Krti: a metre of 4 Pdas. of 20 akaras each.

Madhyejyotis: a metre in which a Pda of 8 akaras stands between two Pdas of 12.

Mahibrhati: 4 Pdas of 8 akaras each, followed by one of 12.

Mahapdapakti: a 2-lined metre of 31 akaras, the first line consisting of 4 Pdas of five akaras each, and the second being a Tristup of the usual eleven akaras.

Mah-pakti: a metre of forty-eight akaras 8 x 6 or 12 x 4.

Nyakusarini: a metre of 4 Pdas of 8 + 12 + 8 + 8 akaras.

Pdanicrt: a variety of Gayatri in which one syllable is wanting in each Pda: 7+3=21 akaras.

Pdapakti: a metre consisting of 5 Pdas of 5 akaras each.

Pakti: a metre of 5 Pdas of 8 akaras like Anuup with an additional Pda.

Paktyuttara: a metre which ends with a Pakti of 5 + 5 akaras.

Pipilikamadhya: any metre the middle Pda of which is shorter than the preceding and the following.

Pragatha: a metre in Book VIII, consisting of strophes combining two verses, viz. a Brhati or Kakup followed by a Satobrhati.

Prastarapakti: a metre of forty akaras: 12+12+8+8

Pratistha: a metre of 4 Pdas of 4 akaras each; also a variety of the Gyatri consisting of 3 Pdas of eight, seven, and six akaras respectively.

Pura-usnih: a metre of 3 Pdas, containing 12+8+8 akaras.

Sakvari: a metre of 4 Pdas of 14 akaras each.

Satobrhati: a metre whose even Pdas contain eight akaras each, and the uneven twelve: 12+8+12+8=40.

Mahasatobrhati: a lengthened form of Satobrhati.

Skandhogriva: consisting of Pdas of 8 + 12 + 8 + 8 akaras.

Tanusira: consisting of 3 Pdas of 11 + 11 + 6 akaras.

Abhisarini: a species of Trstup, in which two Pdas contain twelve instead of eleven akaras.

Uparistadbrhati: consisting of 4 Pdas of 12 + 8 + 8 + 8 akaras.

Uparistajjyotis: a Tristup stanza the last Pda of which contains only eight akaras.

Urdhvabrhati: a variety of Brhati.

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Urobrhati: a variety of Brhati: 8+12 8 + 8 akaras.

Usniggarbha: Gayatri of 3 Pdas of six, seven, and eleven akaras respectively.

Usnih: consisting of 3 Pdas of 8 + 8 + 12 akaras.

Viraj: a metre of 4 Pdas of ten akaras each.

Viparita: a metre of 4 Pdas resembling Vistarapakti.

Viradrupa: a Tristup metre of 4 Pdas, 11 + 11 + 11 + 7 or 8 akaras.

Viratpurva: a variety of Tristup.

Viratsthana: a variety of Tristup.

Visamapda: metre of uneven stanzas.

Vistarabrhati: a form of Brhati of 4 Pdas containing 8 + 10 + 10 + 8= 36 akaras.

Vistarapakti: a form of Pakti consisting of 4 pdas of 8+12+12+8-40 akaras.

Yavamadhya: a metre having a longer Pda between two shorter ones.

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CCCHHHAAANNNTTTIIINNNGGG EEEXXXEEERRRCCCIIISSSEEESSS

(The traditional method of instruction is for the teacher to pronounce once and the students to repeat twice) o | 1 | o nama | o namo nama | o namo nama o | o namo nama o o | o namo nama o o nama || m | 2 | m a ham | m a ham - a ham | m a ham - a ham m | m a ham - a ha m m | m a ham - a ha m m - a ha | mayi | 3 | mayi me dhm | mayi me dh me dhm | mayi me dh me dh mayi | mayi me dh me dh mayi mayi | mayi me dh me dh mayi mayi me dhm || srya | 4 | sryo bhrja | sryo bhrjo bhrja | sryo bhrjo bhrja s srya | sryo bhrjo bhrja s srya s srya | sryo bhrjo bhrja s srya s sryo bhrja || a ham | 5 | a ham - annam | a ham - a nnam - annam | a ham - a nnam anna m - a ham | a ham - a nnam anna m - a ham - a ham | a ham - a nnam anna m - a ham - a ham - annam ||

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nama | 6 | nama -i vya | nama -i vya i vya | nama -i vya i vya nama | nama -i vya i vya namo nama | nama -i vya i vya namo nama -i vya || savi tu | 7 | savi tur vare yam | sa vi tur vare ya vare yam | sa vi tur vare ya vare yagu savi tu | sa vi tur vare ya vare yagu savi tus-savi tu | sa vi tur vare ya vare yagu savi tus sa vi tur vare yam || a ham | 8 | a ha mana | a ha mano mana | a ha mano mano a ham | a ha mano mano a ham - a ham | a ha mano mano a ham - a ha mana || oa dhaya | 9 | oa dhaya s-sam | oa dhaya s-sagu sam | oa dhaya s-sagu sam - oa dhaya | oa dhaya s-sagu sam - oa dhaya oa dhaya | oa dhaya s-sagu sam - oa dhaya oa dhaya s sam || bhrja | 10 | bhrjo dadhtu | bhrjo dadhtu dadhtu | bhrjo dadhtu dadhtu bhrja | bhrjo dadhtu dadhtu bhrjo bhrja | bhrjo dadhtu dadhtu bhrjo bhrjo dadhtu || a ham |11| a ha pram | a ha pra pram | a ha pra pram - a ham |

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a ha pra pram - a ham - a ham | a ha pra pram - a ham - a ha pram || mayi | 12 | mayi srya | mayi srya s-srya | mayi srya s-sryo mayi | mayi srya s-sryo mayi mayi | mayi srya s-sryo mayi mayi srya || ca | 13 | ca nama | ca namo nama | ca namo nama ca | ca namo nama ca ca | ca namo nama ca ca nama | a ham | 14 | a ha vi jnam | a ha vi jna vi jnam | a ha vi jna vi jnam a ha | a ham vi jna vi jnam a ha - a ham | a ham vi jna vi jnam a ham - a ha vi jnam || ka vim | 15 | ka vi ka vnm | ka vi ka vn ka vnm | ka vi ka vn ka vn ka vim | ka vi ka vn ka vn ka vi ka vim | ka vi ka vn ka vn ka vi ka vi ka vnm | a tyu | 16 | a tyu (f) puru a | a tyu (f) puru a (f) puru a | a tyu (f) puru a (f) puru a-a tyu | a tyu (f) puru a (f) puru a-a tyu -a tyu | a tyu (f) puru a (f) puru a-a tyu -a tyu (f) puru a || a ham | 17 | a ham - nandam |

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a ham - nandam - nandam | a ham - nandam - nandam - a ham | a ham - nandam - nandam - a ham - a ham | a ham - nandam - nandam - a ham - a ham - nandam || de v | 18 | de v bu dhyante | de v bu dhyante bu dhyante | de v bu dhyante bu dhyante de v | de v bu dhyante bu dhyante de v de v | de v bu dhyante bu dhyante de v de v bu dhyante || o namo prya prya nama o | 19 | o namo a pnya a pnya nama o | o namo vynya vynya nama o | o namo u dnya u dnya nama o | o namo sa mnya sa mnya nama o | oggas svh || o pra me udhya ntm | 20 | o pna me udhya ntm | o vyna me udhya ntm | o samn me udhya ntm | o udna me udhya ntm | o sarva paca me udhya ntm | o prpna vynodna samn me udhya ntm || o bh - bhmyai nama | 21 | o va - varu ya nama | o ram - agnaye nama | o ya - vyave nama | o ham - kya nama | o am - tmya nama || o mitrya nama | 23 | o ravaye nama | o sryya nama | o bhnave nama | o khagya nama | o pe nama | o hiraya-garbhya nama |

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o marcaye nama | o dityya nama | o savitre nama | o arkya nama | o bhskarya nama ||

Laghu Nysa

a gnir me vci ri ta | vg-hda ye | hda ya mayi | a ham a mte |

a mta brahma i || 1 ||

vyur me pre ri ta | pro hda ye | hda ya mayi | a ham a mte |


sryo me caku i ri ta | caku r hda ye | hda ya mayi | a ham a mte |


ca ndram me mana si ri ta | mano hda ye | hda ya mayi | a ham

a mte | a mta brahma i || 4 ||

dio me rotre ri t | rotra gu hda ye | hda ya mayi | a ham a mte

| a mta brahma i || 5 ||

po me reta si ri t | reto hda ye | hda ya mayi | a ham a mte |


pthi v me a rre ri t | a rra gu hda ye | hda ya mayi | a ham


o a dhi va na spa tayo me loa su ri t | loni hda ye | hda ya mayi |

a ham a mte | a mta brahma i || 8 ||

indro me bale ri t | bala gu hda ye | hda ya mayi | a ham a mte |


pa rjanyo me mrdhni ri ta | mrdho hda ye | hda ya mayi | a ham


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no me ma nyau ri tah | ma nyur hda ye | hda ya mayi | a ham

a mte | a mta brahma i ||

tm ma tmani ri ta | tm hda ye | hda ya mayi | a ham a mte |

a mta brahma i || 11 || puna r ma tm puna r yurgt | puna pra puna r ktam gt | vai vna ro ra mabhi r-v-vdhna | a ntas-tithatv-a mta sya go p ||

Virja Homa mantras

prpa vynodna samna me udhya nt

jyoti r-a ha vi raj vippm bhysa ggas svh ||

By this oblation may all my vital forces become purified. I pray that I may become filled with the

supreme Light bereft of all obstructing karma and their cause: the desires that I harbour.

vg mana-caku-rotra-jihv-ghra-reto-budhy-ktis sakalp

me udhya nt jyoti r-a ha vi raj vippm bhysa ggas svh ||

By this oblation may my speech, mind, sight, taste, smell, seed, intellect, intention and aim become

purified. I pray that I may become filled with the supreme Light bereft of all obstructing karma

and their cause: the desires that I harbour.

tvak-carma-mgsa-rudhira-medo-majj-snyavo-sthni


By this oblation may my seven bodily components become purified. I pray that I may become filled

with the supreme Light bereft of all obstructing karma and their cause: the desires that I harbour.

ira-pi-pda-prva-phor-udara-jagh-ino-pastha-pyavo


By this oblation may limbs, head, hands, feet, sides, back, thighs, abdomen, shanks, generative

organs and the rectum all become purified. I pray that I may become filled with the supreme Light

bereft of all obstructing karma and their cause: the desires that I harbour.

uttiha purua harita pigala lohitki dehi dehi dadpayit


20

O Divine Person, who is dark blue and brown, with red eyes, make hast to favour me. Grant that I

may become purified. Grant me knowledge, and purity through the medium of my preceptor. May

my thoughts become purified. I pray that I may become filled with the supreme Light bereft of all

obstructing karma and their cause: the desires that I harbour.

pthivyap-tejo-vyur-k me udhya nt


By this oblation may the five constituent elements of my body become purified. I pray that I may

become filled with the supreme Light bereft of all obstructing karma and their cause: the desires

that I harbour.

abda spara rpa rasa gandh me udhya nt


By this oblation may the qualities of sound, touch, vision, taste, and smell become purified. I pray

that I may become filled with the supreme Light bereft of all obstructing karma and their cause:

the desires that I harbour.

mano-vk-kya karmi me udhya nt


By this oblation may all the acts accomplished through body, speech and mind become purified. I

pray that I may become filled with the supreme Light bereft of all obstructing karma and their

cause: the desires that I harbour.

avyakta-bhvair-a hakrai r jyoti r-a ha

vi raj vippm bhysa ggas svh || May I not have any suppressed feelings of egoism. I pray that I may become filled with the supreme

Light bereft of all obstructing karma and their cause: the desires that I harbour.

tm me udhya nt jyoti r-a ha vi raj vippm bhysa ggas svh ||

By this oblation may my body become purified. I pray that I may become filled with the supreme

Light bereft of all obstructing karma and their cause: the desires that I harbour.

antartm me udhya nt jyoti r-a ha vi raj vippm bhysa ggas

svh ||

By this oblation may all my internal organs become purified. I pray that I may become filled with

the supreme Light bereft of all obstructing karma and their cause: the desires that I harbour.

21

paramtm me udhya nt jyoti r-a ha vi raj vippm bhysa ggas

svh ||

By this oblation may my infinite Self become purified. I pray that I may become filled with the

supreme Light bereft of all obstructing karma and their cause: the desires that I harbour.

ku dhe svh | kut-pi psya svh | vivi yai svh | g-vi dhnya

svh | ka o t-kya svh | oggas svh ||

I make this oblation to hunger, to the conjoined deities of hunger and thirst, to the onipresent

Supreme, to the ordainer of the Rik chants, to the One who is invested in His projection of the

universe, I am the truth expressed by the praava.

ku t-pi psa-ma la jye hm alakmr na ymyaham |

abhtim asa mddhi ca sarvn ni ruda me ppmnaggas svh ||

O Lord through your grace I remove fro me the affliction of hunger, thirst, misfortune, adversity,

poverty and lack of progress etc. Efface my sins.

anna-maya pra-maya mano-maya vijna-mayam nanda-mayam

tm me udhya nt jyoti r-a ha vi raj vippm bhysa ggas svh ||

By this oblation may my five-fold self consisting of the sheaths of nourishment, respiration, mind,

intellect, and bliss become purified. I pray that I may become filled with the supreme Light bereft

of all obstructing karma and their cause: the desires that I harbour.

22

ivapackar mantra 1. sahit pha nama i vya ca | 2. padapha nama | i vya | ca | 3. kramapha nama i vya | i vya ca | 4. japha

nama i vya i vya ca namo nama i vya | i vya ca ca i vya i vya ca i vya ca |

5. ghanapha nama i vya i vya namo nama i vya ca ca i vya namo nama i vya ca | i vya ca ca i vya i vya ca |

atamnam bhavati rvdam

1. sahit pha

a tamna bhavatu a tyu puru a-a tendri ya yu ye vendri ye prati tihati || 2. krama pha a tamna bhavatu |

a tamna m iti a ta -mna m |

bha va tu a tyu | a tyu puru a | a tyu r iti a ta -yu |

puru a a tendri ya |

a tendri ya yu i |

a tendri ya iti a ta -i ndri ya | yu ye va |

e va prati | prati tihati |

ti ha tti -tihati ||

23

Gyatr mantra o bh bhuva suva | tat sa vi tu vare ya bhargo devasya dhmahi | dhiyo yo na pracodayt ||

1. ghanapha

tat sa vi tus sa vi tus tat tat sa vi tur vare ya vare yagu sa vi tus tat tat sa vi tur vare ya |

sa vi tur vare ya vare yagu sa vi tus sa vi tur vare ya bhargo bhargo vare yagu sa vi tus sa vi tur vare ya bharga |

vare ya bhargo bhargo vare ya vare ya bhargo de vasya de vasya bhargo vare ya vare ya bhargo de vasya |

bhargo de vasya de vasya bhargo bhargo de vasya dhmahi dhmahi de vasya bhargo bhargo de vasya dhmahi |

de vasya dhmahi dhmahi de vasya de vasya dhmahi | dhma hti dhmahi |

dhiyo yo yo dhiyo dhiyo yo no no yo dhiyo dhiyo yo na |

yo no no yo yo na praco dayt praco dayn no yo yo na praco dayt |

na pra co dayt pracodayn no na praco dayt |

pra co dayd iti pra-co dayt ||

Karoti Rpi

1. sahit pha ka ro ti rpi juhoti rpair e vaingu sama rdhayati tasy upo tthya

kara m ja pe die rante'di te sara svati priye preya si mahi viru tye tni te

aghniye nmni su kta m de veu brtd iti de vebhya e vaina m

ve daya tyanve na de v bu dhyante | He offers to her forms; verily he unites with her forms. Rising up he repeats into her ear: O Ida,

Ranti, Aditi, Sarasvati, Priya, Preyasi, Mahi Vishruti; these O Inviolable one are thy names,

proclaim me among the gods as the doer of good deeds. Verily she proclaims him among the gods,

and the gods take note of him. (Taittiriya Samhita 7:1:6:28)

24

karoti | rpi | juhoti | rpai | eva | enm | samiti | ardhayati | tasy | upotthya karam | eti | japet | ie | rante | adite | sarasvati | priye | preyasi | mahi | viruti | etni | te | aghniye | nmni | suktam | m | deveu | brutt | iti | devebhya | eva | enam | eti | vedayati | anviti | dev | budhyante || 2. krama pha

ka ro ti rpi | viru tye tni |

rpi juhoti | viru tti vi - ru ti | ju ho ti rpai | e tni te |

rpair-e va | te a ghni ye | e vainm | a ghniye nmni |

e ngu sam | nmni su ktam |

sama rdhayati | su kta m |

a rdha ya ti tasy | su kta miti su - ktam |

tasy upo tthya | m de veu |

upo tthya karam | de veu brtt |

u po tthyetyu pa - u tthya | brtd iti |

kara m | iti de vebhya | ja pet | de vebhya e va | jape die | e vainam | ie rante | ena m |

rantedi te | ve dayati | adi te sara svati | ve da ya tyanu | sara svati priye | anve nam | priye preya si | e na de v | preya si mahi | de v bu dhyante | mahi viru ti | bu dhya nta iti budhyante ||

26

nmni su ktagu su kta nmni nmni su ktam |

su kta m m su ktagu su kta m |

su kta miti su - ktam |

m de veu de veu m m de veu |

de veu brtt brtt de veu de veu brtt |

brtd itti brtt brtd iti |

iti de vebhyo de vebhya itti de vebhya |

de vebhya e vaiva de vebhyo de vebhya e va |

e vaina m enam e vai-vainam |

e na m aina m ena m |

ve dayati vedaya ty ve dayati |

ve da ya ty-anvanu vedayati vedaya ty-anu |

anve nam-ena m-anvan-ve nam |

e na de v de v e nam-ena de v |

de v bu dhyante budhyante de v de v bu dhyante |

bu dhya nta iti budhyante || 4. ghana pha

ka ro ti rpi rpi karoti karoti rpi juhoti juhoti rpi karoti

karoti rpi juhoti |

rpi juhoti juhoti rpi rpi juhoti rpairpair ju hoti rpi

rpi juhoti rpai |

ju ho ti rpai-rpair ju hoti juhoti rpair e vaiva rpair ju hoti juhoti rpair

e va |

rpair e vaiva rpai rpair e vainm enm e va rpai rpair e vainm |

e vainm enm e vai-vaingu sagu same nm-e vaivai ngu sam |

e ngu sagu same nm engu sama rdhayaty-ardhyati

27

same nm engu sama rdhayati |

sama rdhayaty-ardhayati sagu sama rdhayati tasys-tasy

ardhayati sagu sama rdhayati tasy |

a rdha ya ti tasys-tasy ardhayaty-ardhayati tasy

upo tthyo po tthya tasy ardhayaty-ardhayati tasy upo tthya |

tasy upo tthyo po tthya tasys-tasy upo tthya kara kara m-

upo tthya tasya s-tasy upo tthya karam |

u po tthya kara kara m-upo tthyo po tthya kara m kara m

upo tthyo po tthya kara m |

u po tthyety-u pa - u tthya |

kara m kara kara m ja pej-jape d kara kara m ja pet |

ja pet jape d ja pe d ia ie jape d ja pe d ie |

ja pe d ia ie japej-jape d ie rante ranta ie japej-jape d ie

rante |

ie rante ranta ia ie rante di te di te ranta ia ie rantedi te |

rante-di te-di te rante rante-di te sara svati sara sva ty-adi te rante-di te

sara svati |

adi te sara svati sara sva ty-adi te-di te sara svati priye priye sara sva ty-adi te-

di te sara svati priye |

sara svati priye priye sara svati sara svati priye preya si preya si priye

sara svati sara svati priye preya si |

priye preya si preya si priye priye preya si mahi mahi preya si priye priye

preya si mahi |

preya si mahi mahi preya si preya si mahi viru ti viru ti mahi preya si

preya si mahi viru ti |

mahi viru ti viru ti mahi mahi viru ty-e tny-e tni viru ti mahi mahi

viru ty-e tni |

28

viru ty-e tny-e tni viru ti viru ty-e tni teta e tni viru ti viru ty-e tni te

| viru tti vi - ru ti |

e tni teta e tny-e tni te aghniye aghniye ta e tny-e tni te

aghniye |

te a ghni ye a ghniye te te a ghniye nmni nmny-aghniye te te aghniye

nmni |

a ghni ye nmni namnyaghniye aghniye nmni

su ktagu su kta namnyaghniye aghniye nmni su ktam |

nmni su ktagu su kta nmni nmni su kta m m su kta

nmni nmni su kta m |

suk ta m m su ktagu su kta m de veu de veu m su ktagu

su kta m de veu |

su kta miti su - ktam |

m de veu de veu m m de veu brtt brtt de veu m m de veu

brtt |

de veu brtt brtt de veu de veu brtd itti brtt de veu de veu

brtd iti |

brtd itti brtt brtd iti de vebhyo de vebhya iti brtt

brtd iti de vebhya |

iti de vebhyo de vebhya itti de vebhya e vaiva de vebhya itti de vebhya

e va |

de vebhya e vaiva de vebhyo de vebhya e vaina m enam e va

de vebhyo de vebhya e vainam |

e vaina m enam e vaivaina m aina m e vai vaina m |

e na m-aina m-ena m ve dayati vedaya ty-aina m-ena m ve dayati |

ve dayati vedaya ty ve daya ty-anvanu vedaya ty ve daya ty-anu |

29

ve da ya ty-anvanu vedayati vedaya ty-anve nam ena m-anu vedayati

vedaya tyanve nam |

anve nam-ena manvan-ve na de v de v e na m-anvan-ve na de v |

e na de v de v e nam-ena de v bu dhyante budhyante de v e nam

ena de v bu dhyante |

de v bu dhyante budhyante de v de v bu dhyante |

bu dhya nta iti budhyante ||

Forgiveness for mispronunciation yad akara pada bhraha mtr hna tu yad bhavet | tat sarva kamyat deva nryaa namostu te | visarga bindu mtri pada padkareu ca |

nyntirikta yat kicit bhirgrbhir udrayet || O Lord Narayana! whatever mistakes I have made in pronunciation, mispronouncing syllables,

neglecting the metre and beat, dropping the various grammatical forms, elongating or shortening

vowels please forgive me for all of that and accept it as complete.

Documents

Introduction to Vedic Chanting