Learning To Play Mridanga
Learning To Play Mridanga
Learning To Play Mridanga
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3.
Mridanga playing is a traditional art which is of great importance in our Gaudiya Vaishnava culture.
In the Sankirtan movement of Shri Chaitanya Mahaprabhu, Shri Krishnas flute appears in the form of Mridanga
which is a constant accompaniment of hari-naam. So if one wants to be part of Sankirtan movement, its good to
know how to play Mridanga.
It is the most effective way of pleasing many Vaishnavas simultaneously. If one can play Mridanga very well in the
Kirtan then devotees can dance on those tunes forgetting everything and can have an enlivening experience. Its
easiest and best way of serving Vaishnavas
2.
We should treat learning Mridanga playing as an important activity and not as optional or secondary. Only when
we would give it a priority & take it seriously we can learn it.
The objective should not be to display our art, impress others, show our prowess and get appreciation for the
same. We should not be learning or playing Mridanga as an art, but with the only objective to serve Vaishnavas
Classroom norms
1.
2.
3.
4.
5.
6.
7.
8.
Everyone must bring their own Mridanga, DO NOT play till you are asked to.
Carry a notebook & a pen.
Be punctual. Timings of the class to be strictly followed.
Commitment to practice for 15 minutes every day.
Personal coaching only on Sunday at specific timings.
Attendance and expertise would be considered while giving admissions to further courses.
Bring flash player for recording (optional)
All mobiles should be kept on silent mode / switched off
1.
Mridanga comes as part of the paraphernalia of Lord, which is expansion of Balaramji. Hence we have to treat
Mridanga very respectful, as good as the deity.
Mridanga should be placed on Aasan or elevated platform and not directly on the floor. Can be either kept
vertical on its base or horizontal.
While picking up Mridanga, it should be always held using the loops which are created on both the sides of
Mridanga, the ones from which goes the strap
While walking or carrying Mridanga with us, it should be always held in our hands, where one hand should
support the base (bigger surface) of the Mridanga and the other hand can hold the loop on the other surface.
Never bow down or offer obeisance keeping it on our shoulder.
We should always be careful and should ensure that we dont cause any damage to Mridanga, just as we would
take care of the deity. Unlike material world, in spiritual world everything is treated as person, so also Mridanga.
Only when we give respect to Mridanga we can play it properly not otherwise.
Care should be taken that Mridanga is never exposed to humidity and is always kept covered. Dont heat Mrdanga
directly iver the flame, consult some expert to tighten it.
4.
5.
6.
7.
2.
3.
Never play covered Mridanga, as in that state its considered that the deity is sleeping. Before playing we should
open the cover and offer the prayers.
If we want to play it while standing, then we should put the strap across the right shoulder just like Brahmin
thread (or even on left shoulder is ok) and supported by the back fully. Never place strap around the neck, can
lead to problems.
If we want to play it while sitting, then sit by putting right foot in front of the left foot thus making a cavity which
can hold the Mridanga firmly. We can also support it further by putting strap behind i.e. on our back.
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2.
3.
Those have not developed taste to hear the pastimes of the Lord of the Gopis.
Those people who have no respectful veneration towards hearing the narrations of the supreme Lord's activities.
Fie upon them, fie upon them, to hell with them; thus states Mridanga.
Mridanga
IN
1 = index finger
OUT
2 = other 3 fingers
BIG END
SMALL END
About Mridanga
-
Mrid means clay & anga means body, i.e. one whose body is made of clay that is Mridanga, Bengali name for
Mridanga is Khol.
Two sides of Mridanga are tied along the body using the strings which are called as vaadi and they are 32 in
number. These represent 32 letters from Hare Krishna Mahamantra.
As per Gaudia Vaishnavas we should use right hand for SMALL end & left hand for playing BIG end of Mridanga
For simplification we shall be using two basic notations (to indicate beat played on the either side of Mridanga)
BIG end - we play OUT and IN. In the centre we play IN and the outer periphery we play OUT using
front portion of 4 fingers. For IN we press and for OUT we allow it to reverberate.
SMALL end we play 1 and 2. In the centre we play 1 with our index finger & we play 2 using the
other 3 fingers again in the centre. 1 makes high pitch resounding sound whereas 2 makes sound like
chuk
Above are the 4 basic building blocks for all the beats, hence more precise we play them the sweeter would be the
sound of the beats. Making various permutations and combinations of these notations, other beats (or taal) are
formulated.
We must learn to sing while playing Mridanga. Only when we master one beat (taal) alongwith singing we should
try to learn the second taal.
2.
3.
Play it slow and steady till we get the clarity of all the sounds produced (IN, OUT, 1 & 2). Only when we play it
slow the Taala develops and hands become flexible. Keep it slow for long period of time.
Do not increase the speed of playing by compromising the quality of sound. Quality must be maintained even as
you increase the speed.
Practice (play Mridanga) while repeating the notations aloud. DONT NEGLECT THIS thinking its trivial.
Eventually as we learn unlimited varieties of beats played using these notations this practice would be useful.
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f faint
Beat
No.
1
2
GAP
3
4
5
6
GAP
BIG
Beat
No.
1
2
3
4
5
6
7
BIG
OUT
IN
OUT(f)
OUT(s)
IN
OUT(f)
OUT(s)
&
s strong
-
SMALL
1
2
1
2
SMALL
2
1
2
1
1
Beat
No.
1
2
3
4
5
BIG
IN
IN
OUT(f)
OUT(s)
SMALL
1
1
4th & 5th are to be played together and playing 4th beat OUT(f) as faint adds the sweetness
BIG
OUT
IN
OUT
OUT
-
SMALL
2
1
2
1
2
1
2
1
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BIG
OUT
IN
IN
IN
OUT
-
SMALL
2
1
2
1
2
1
2
1
BIG
OUT
OUT
OUT
OUT
IN
IN
SMALL
2
1
2
1
2
1
2
1
Beat
No.
2
3
4
5
6
1
BIG
IN
OUT(f)
OUT(s)
OUT
SMALL
1
2
1
2
BIG
OUT(f)
OUT(s)
SMALL
Another variation:
Beat
No.
1
2
3
3
4
5
1
1
-
BIG
OUT(f)
OUT(f)
OUT(s)
-
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SMALL
1
1
2
Beat
No.
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
BIG
IN
IN
OUT(f)
OUT(s)
OUT
OUT
OUT
OUT
OUT
-
SMALL
1
1
2
1
2
1
2
1
2
1
2
1
2
1
Beat BIG
No.
1
IN
2
IN
3
OUT
Repeat 3 times
Beat BIG
No.
1
IN
2
OUT(f)
3
OUT(s)
Repeat 3 times
Beat BIG
No.
1
2
3
IN
4
5
OUT
Repeat 3 times
SMALL
1
1
2
SMALL
1
1
SMALL
2
1
2
1
Tihai is used at the end of Hare Krishna Mahamantra, mainly to break the monotony of the taal, to add
surprise element in the rhythm, to indicate that one mahamantra is completed.
Conclusion
Just by learning above beats, almost 90% of the tunes played for Kirtans & Bhajans in ISKCON get covered and can
be played by us. Wish you all the best! May Lord Balarama bless you with the necessary talent, intelligence,
strength and service attitude to become a good Mrdanga Player.
Thank you very much! Hare Krishna!!
Vaishnava Kripa Abhilashi,
Bala Govinda Dasa. bgd@voicepune.com
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