Speaking Tree - Mysteries Of Sound, Song And Sweetness

According to the science of acoustics, the origin or the seed of a word remains in latent form in para Shakti, primordial sound energy. The latent or dormant condition of a word is called ‘para’. At the first stage of expression, one visualises that word with one’s inner eye. Then it takes the name of pashyanti – the feminine gender of pashyat with the suffix shatr.

Thereafter, the stage of continuous effort that goes on from the navel to the vocal chord regions to transform the visualised word from mental image into an expressible state or language is called madhyama. The stage that follows this madhyama, when it goes on pushing, stirring the uvula continuously, is known as dyotamana. Afterwards, when, with the help of the uvula, it is transformed into an audible sound, it is called vaekhari. At last, when borne by the uvula, it comes out between the parted lips, it is shrutigocara.

When human beings attain proficiency in controlling vaekhari power by dint of spiritual sadhana, it is called vaekhari siddhi. Even without following systematic spiritual practice, through continuous normal practice also one can gain control over this vaekhari shakti, though only to some extent.

The power required to issue commands or to give orders is called galavaekhari. With the help of which human beings can augment the depth of the sound, and according to their sweet will can add a quiver to the voice. Adding sweetness to a quivering voice nonetheless warrants concentration of mind in the kurma nadi or energy channels related to vocal chord which is close to the centre of vaekhari power.

Even if the measure of sweetness in the vaekhari shakti is little, this will not be so in the kurma nadi. Simply by playing on words and thereby confusing people, a section of so-called learned pundits may derive intellectual pleasure, their intellectual thirst may be quenched, but the human heart remains unsatisfied. These intellectuals, steeped in intellectual vanity, may get temporary satisfaction, but they can never attain salvation.

Songs and poems that have preponderance of soft and soothing sounds are called komalagiti. Generally in poetry and lyrics, letters belonging to ca varga and ta varga are considered to be komala, soft, those of ka varga and pa varga are regarded as medium, and those of ta varga are considered hard. Lyrics sound sweet if letters belonging to the komala vargas are used properly within the various lines. The sweetness is enhanced and becomes more pronounced if kathor dhvani (hard sounds) are scattered through the lines, followed immediately by komala dhvani.

The high frequency part of a song is called khandaparshu … While singing, one should hold before one’s eyes the bhava, ideation of the raga or ragini in which the song is being sung and should also sing meticulously and systematically within the notes prescribed for that particular raga or ragini.

The mind has to be led to the mahabhava (ecstatic samadhi) or cosmic ideation embodied in the different ragas and raginis through anubhava or unit ideation. Of these, bhava, anubhava and especially the mahabhava are called khandaparshu.

In ancient times, the impetus that was given to the unit bhava or mahabhava for the sake of rudrikarana, poignancy, stambhikarana, stilling the mind and spastikarna, clarity was called khambaj.