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ISBN: 91-7149-326-3
Text
The Hake Kcishna
Music Book
© 1994 The Bhaktivcdanta Book Trust International
All Rights Reserved
ISBN 91-7149-326-3
Readers interested in the subject matter of this
book are invited by the International Society for
Krishna Consciousness (ISKCON) to
correspond with its secretary.
1SKCON. Bhaktivedanta Manor. Lctchmorc Heath.
Watford, Herfordshire WD2 8EP.
Great Britain
ISKCON. 3764 Watseka Avenue. Los Angeles.
California 90034. USA
ISKCON. P.O. Box 159. Kings Cross.
N.S.W. 2011. Australia
Unauthorized reproduction of any part of this
publication by any means including photocopying
is an infringement of copyright.
CONTENTS
Acknowledgments ......................... 4
Dedication .............................. 5
Introduction .......................... 6
Compiler’s Note.......................... 7
Musical Memories of Srila Prabhupada.... 8
What is Arati, and What Is It for?...... 11
The Essence of Devotional Music ........ 12
Chanting the Holy Name.................. 13
MANGALA ARATI ............................. 15
Sri Sri Gurv-Astaka .................... 18
Srila Prabhupada Pranati ............... 22
Panca-Tattva Maha-Mantra................ 24
Hare Krsna Maha-Mantra ................. 26
Nama-Sankirtana......................... 26
Prema-Dhvani Prayers.................... 28
Sri Nrsimha Pranama..................... 29
Prayer to Lord Nrsimha ................. 30
SRI TULASI ARATI.......................... 33
Sri Tulasi Pranama...................... 34
Sri Tulasi-Kirtana...................... 35
„ Sri Tulasi Pradaksina Mantra ............ 37
Panca-Tattva Maha-Mantra................ 38
Hare Krsna Maha-Mantra ................. 39
Sri Tulasi Pranama...................... 41
Sri Vaisnava Pranama.................... 41
GREETING OF THE DEITIES
AND GURU-PUJA.............................. 43
Sri Brahma-Sariihita.................... 44
Sri Guru-Vandana........................ 49
Panca-Tattva Maha-Mantra................ 52
Hare Krsna Maha-Mantra ................. 52
BEFORE THE SRIMAD-
BHAGAVATAM CLASS........................... 55
Jaya Radha Madhava...................... 55
Invocation Before Class ................ 56
PRASADA-SEVAYA............................. 57
RAJA BHOGA ARATI........................... 59
Bhoga Arati ............................ 60
Srila Prabhupada Pranati................ 63
Panca-Tattva Maha-Mantra................ 63
Hare Krsna Maha-Mantra.................. 64
Sri Nrsimha Pranama..................... 65
Prayer to Lord Nrsimha ................. 66
AFTERNOON ARATI............................ 69
Srila Prabhupada Pranati................ 70
Panca-Tattva Maha-Mantra................ 70
Sri Nrsimha Pranama....................... 71
Prayer to Lord Nrsimha ................... 72
SANDHYA ARATI................................ 75
Srila Prabhupada Pranati.................. 77
Gaura Arati............................... 77
Panca-Tattva Maha-Mantra.................. 80
Hare Krsna Maha-Mantra ................... 80
Sri Nrsimha Pranama....................... 81
Prayer to Lord Nrsimha ................... 82
SAYANA ARATI................................. 85
Srila Prabhupada Pranati.................. 86
Panca-Tattva Maha-Mantra.................. 86
Hare Krsna Maha-Mantra.................... 87
Sri Nrsimha Pranama ...................... 88
Prayer to Lord Nrsimha ................... 89
BHAJANS...................................... 91
Nama-Sankirtana........................... 91
Gopinatha................................. 92
Savarana-Sri-Gaura-Pada-Padme............. 94
Raghupati Raghava......................... 93
Sri Nama ................................. 97
Sri Radhika-Stava....................... 100
Ista-Deve Vijnapti...................... 101
Sri Dasavatara-Stotra................... 104
Manah-Siksa............................. 107
Sri Nama-kirtana......................... 110
Sri Vraja-dhama-mahimamrta............... 114
Gurudeva................................ 116
Ohe! Vaisnava Thakura .................. 118
Sri Guru Parampara....................... 120
Sri Sri Gurv-Astaka...................... 123
Sri Rupa Manjari Pada.................... 124
Sri Sri Sad-Gosvamy-Astaka .............. 126
Sri Nama-Sankirtana...................... 129
Arunodaya-Kirtana (part one) ............ 131
Arunodaya-Kirtana (part two) ............ 133
Saparsada-Bhagavad-Viraha-Janita Vilapo . 134
Sri Damodarastaka........................ 136
Bhajahii re Mana Sri Nanda-Nandana ...... 139
Suddha-bhakata........................... 142
Vraja-Raja-Sutastakam.................... 144
Jagannathastakam......................... 146
POPULAR MELODIES FOR THE
HARE KRSNA MAHA-MANTRA.......................149
Hare Krsna Maha-Mantra................... 172
Joan Wilder, A.R.M.C.M................... 174
Pronunciation Guide ..................... 175
SRI SRI GURV-ASTAKA
• •
by Srila Visvanatha Cakravarti Thakura
(also known as the Samsara Prayers)
Verse 1
(Lead and Response)
c c F
~ -||^> -П1 u j j'
sam - sa - ra - da - va - na - la - lid ha - lo - ka - tra - na - ya
Verse 2
Verse 3
se 4
36
ni - Kun - ja - yu - no ra - u - ке - n - sia - anyai ya ya - n
Verse 3
This is a variation of the melody as sung by Srila Prabhupada
It can be sung for any of the verses as demonstrated here for verse 3.
(1) samsdra-davdnala-Udha-loka-
trdnaya karunya-ghandghanatvam
prdptasya kalydna-gundrnavasya
vande guroh. sri-carandravindam
(2) mahdprabhoh kirtana-nrtya-gita-
vdditra-mddyan-manaso rasena
romdnca-kampdsru-taranga-bhdjo
vande guroh sri-carandravindam
(3) sri-vigraharddhana-nitya-ndnd-
srngdra-tan-mandira-mdrjanddau
yuktasya bhaktdms ca niyuhjato 'pi
vande guroh sri-carandravindam
(4) catur-vidha-sri-bhagavat-prasdda-
svddv-anna-trptdn hari-bhakta-sanghdn
krtvaiva trptim bhajatah sadaiva
vande guroh sri-carandravindam
(5) sri-radhikd-madhavayor apdra-
mddhurya-lild-guna-rupa-ndmndm
prati-ksandsvadana-lolupasya
vande guroh sri-carandravindam
(6) nikunja-yiino rati-keli-siddhyai
yd ydlibhir yuktir apeksaniya
ta trdti-ddksyad a ti- vallabhasya
vande guroh sri-caranaravindam
(7) sdksdd-dharitvena samasta-sdstrair
uktas tathd bhdvyata eva sadbhih
kintu prabhor yah priya eva tasya
vande guroh sri-carandravindam
(8) yasya prasdddd bhagavat-prasddo
yasydprasdddn na gatih kuto ’pi
dhyayan stuvams tasya yasas tri-sandhyam
vande guroh sri-caranaravindam
(1) The spiritual master is receiving
benediction from the ocean of mercy. Just as
a cloud pours water on a forest fire to
extinguish it, so the spiritual master delivers
the materially afflicted world by extinguishing
the blazing fire of material existence. I offer
my respectful obeisances unto the lotus feet of
such a spiritual master, who is an ocean of
auspicious qualities.
(2) Chanting the holy name, dancing in ecstasy,
singing, and playing musical instruments, the
spiritual master is always gladdened by the
sankirtana movement of Lord Caitanya
Mahaprabhu. Because he is relishing the
mellows of pure devotion within his mind,
sometimes his hair stands on end, he feels
quivering in his body, and tears flow from his
eyes like waves. I offer my respectful
obeisances unto the lotus feet of such a
spiritual master.
(3) The spiritual master is always engaged in
the temple worship of Sri Sri Radha and Krsna.
He also engages his disciples in such worship.
They dress the Deities in beautiful clothes and
ornaments, clean Their temple, and perform
other similar worship of the Lord. I offer my
respectful obeisances unto the lotus feet of
such a spiritual master.
(4) The spiritual master is always offering
Krsna four kinds of delicious food [analyzed
as that which is licked, chewed, drunk, and
sucked]. When the spiritual master sees that
the devotees are satisfied by eating bhagavat-
prasdda, he is satisfied. I offer my respectful
obeisances unto the lotus feet of such a
spiritual master.
(5) The spiritual master is always eager to
hear and chant about the unlimited conjugal
pastimes of Radhika and Madhava, and Their
qualities, names, and forms. The spiritual
master aspires to relish these at every moment.
I offer my respectful obeisances unto the lotus
feet of such a spiritual master.
(6) The spiritual master is very dear, because
he is expert in assisting the gopis, who at
different times make different tasteful
arrangements for the perfection of Radha and
Krsna’s conjugal loving affairs within the
groves of Vrndavana. I offer my most humble
obeisances unto the lotus feet of such a
spiritual master.
(7) The spiritual master is to be honored as
much as the Supreme Lord, because he is the
most confidential servitor of the Lord. This
is acknowledged in all revealed scriptures and
followed by all authorities. Therefore I offer
my respectful obeisances unto the lotus feet
of such a spiritual master, who is a bona fide
representative of Sri Hari [Krsna],
(8) By the mercy of the spiritual master one
receives the benediction of Krsna. Without
the grace of the spiritual master, one cannot
make any advancement. Therefore, I should
always remember and praise the spiritual
master. At least three times a day I should
offer my respectful obeisances unto the lotus
feet of my spiritual master.
SRlLA PRABHUPADA PRANATI
Obeisances to Srila Prabhupada
Founder-Acarya of ISKCON
All the melodies sung at Mangala Arati
are based on the morning melody.
Lead and response
Verse 1 Dolce e piano
Moderate
C F
ii:’ j ij J JJl
na - ma orh vis - nu - pa - da - ya krs - na - pres
SRILA PRABHUPADA PRANATI
пата orh visnu-paddya
krsna-presthaya bhd-tale
srimate bhaktivedanta-
svamin iti ndmine
namah - obeisances; orh - address; visnu-paddya
- unto him who is at the feet of Lord Visnu;
krsna-presthaya - who is very dear to Lord
Krsna; bhd-tale - on the earth; srimate - all-
beautiful; bhaktiveddnta-svamin - A.C.
Bhaktivedanta Swami; iti - thus; ndmine - who
is named.
I offer my respectful obeisances unto His
Divine Grace A.C. Bhaktivedanta Swami
Prabhupada, who is very dear to Lord Krsna,
having taken shelter at His lotus feet.
namas te sdrasvate deve
gaura-vdni-pracdrine
nirvisesa-sunyavddi-
pdscdtya-desa-tdrine
namah - obeisances; te - unto you; sdrasvate
deve - servant of Bhaktisiddhanta Sarasvati
Gosvami; gaura-vdni - the message of Lord
Caitanya; pracdrine - who are preaching;
nirvisesa - (from) impersonalism; sunya-vddi -
(from) voidism; pdscdtya - Western; desa -
countries; tdrine - who are delivering.
Our respectful obeisances are unto you, О
spiritual master, servant of Sarasvati Gosvami.
You are kindly preaching the message of Lord
Caitanyadeva and delivering the Western
countries, which are filled with impersonalism
and voidism.
PANCA-TATTVA MAHA-MANTRA
Obeisances to Sri Caitanya Mahaprabhu and His Main Associates
(set to the morning melody)
Andante
C F Gm
- nan - da sri - ad - vai - ta - ga - dad - har(a) sri - va - sa - di
2nd time for finish
P 1st time all repeats
ja - ya
gaur(a) bhak-ta
* (a) The final a is not pronounced.
PANCA-TATTVA MAHA-MANTRA
(jaya) sri-krsna-caitanya prabhu nityananda
sri-advaita gadadhara srivdsddi-gaara-bhakta-vrnda
To derive the full benefit of the chanting of the
Hare Krsna mahd-mantra, we must first take
shelter of Sri Caitanya Mahaprabhu, who is always
accompanied by His plenary expansion Sri
Nityananda Prabhu, His incarnation Sri Advaita
Prabhu, His internal potency Sri Gadadhara
Prabhu, and His marginal potency Srivasa Prabhu.
HARE KRSNA MAHA-MANTRA
• • •
(set to the morning melody)
NAMA-SANKIRTANA
by Srila Narottama dasa Thakura
Gm
sri - ma - dhu - su - dan(a)
ha dan(a)
ha - ri ha - raye na - mah krs - na ya - da va - ya
NAMA-SANKIRTANA
ha dan(a)
go - pal(a) go - vin - da ram(a) sri - ma dhu - su dan(a)
(1)
hari haraye namah krsna yadavaya namah
yddavdya mddhavaya kesavaya namah
(2)
gopala govinda rama sri-madhusudana
giridhdri gopinatha madana-mohana
(3)
sri-caitanya-nityananda sri-adwaita-sita
hari guru vaisnaba bhdgavata gitd
(4)
sri-rupa sanatana bhatta raghunath
sri-jiva gopdla-bhatta ddsa-raghundth
(5)
ei chay gosair kori carana vandan
jdhd hoite bighna-nds abhista-puran
(6)
ei chay gosai jar - mui tar das
td-sabara pada-renu mora panca-gras
(?)
tadera carana-sebi-bhakta-sane bas
janame janame hoy ei abhilds
(8)
ei chay gosai jabe braje koila bas
radhd-krsna-nitya-lild korild prakas
(9)
anande bolo hari bhaja brndaban
sri-guru-vaisnaba-pade majdiya man
(10)
sri-guru-vaisnaba-pada-padma kori as
ndma-sankirtana kohe narottama das
(1) О Lord Hari, О Lord Krsna, I offer my
obeisances to You, who are known as Yadava,
Hari, Madhava, and Kesava.
(2) О Gopala, Govinda, Rama, Sri Madhu-
sudana, Giridhari, Gopinatha, Madana-mohana!
(3) AH glories to Sri Caitanya and Nityananda.
All glories to Sri Advaita Acarya and His
consort, Sri Sita Thakurani. All glories to Lord
Hari, the spiritual master, the Vaisnavas,
Srimad-Bhagavatam, and Srimad Bhagavad-
gita.
(4) All glories to Sri Rupa Gosvami, Sanatana
Gosvami, Raghunatha Bhatta Gosvami, Sri
Jiva Gosvami, Gopala Bhatta Gosvami, and
Raghunatha dasa Gosvami.
(5) I offer my obeisances to the feet of these
six Gosvamis. By offering them my obeisances
all obstacles to devotion are destroyed and all
spiritual desires are fulfilled.
(6) I am the servant of that person who is a
servant of these six Gosvamis. The dust of their
holy feet is my five kinds of foodstuffs.
(7) This is my desire, that birth after birth I
may live with those devotees who serve the
lotus feet of these six Gosvamis.
(8) When these six Gosvamis lived in Vraja
they revealed and explained the eternal
pastimes of Radha and Krsna.
(9) Absorbing your mind in meditation upon
the divine feet of the spiritual master and the
holy Vaisnavas, chant the names of Lord Hari
in ecstasy, and worship the transcendental
realm of Vrndavana.
(10) Desiring the lotus feet of Sri Guru and the
Vaisnavas, Narottama dasa sings the sankirtana
of the holy name.
MUSIC AND CHANTS FOR MANGALA ARATI
PREMA-DHVANl PRAYERS
After performing kirtana a senior devotee
recites some prayers while the others offer
obeisances. At the end of each prayer he says
ki, which means that he is asking for their
response. Everyone responds with a loud jaya,
meaning “yes, all glories to...”
Here is the general sequence:
(1) jaya (nitya-lila-pravista) orh visnupdda
paramahamsa parivrajakdcarya astottara-
sata sri srimad abhaya caranaravinda
bhaktiveddnta svdmi maharaja prabhupada
ki jaya!
All glories to Orh Visnupada 108 Abhaya
Caranaravinda Bhaktivedanta Swami Maharaja
Prabhupada, who travels across the earth
preaching the glories of Lord Hari, who
is situated on the highest platform of
sannydsa (and who has entered into the
eternal pastimes of the Lord).
Srila Bhaktisiddhanta Sarasvati Thakura,
Srila Prabhupada’s spiritual master, is
glorified by a similar prayer.
(2) ananta koti vaisnava-vrnda ki jaya!
All glories to the unlimited millions of
Vaisnavas!
(3) ndmdcdrya srila haridasa thakura ki
jaya!
All glories to the ndmdcdrya (the
acdrya for the chanting of the holy name)
Srila Haridasa Thakura!
(4) premse kaho sri krsna caitanya prabhu
nitydnanda sri advaita gadadhara
srivasadi gaura-bhakta-vrnda ki
jaya!
Call out with love the names Sri Krsna
Caitanya, Prabhu Nityananda, Sri
Advaita, Sri Gadadhara, Srivasadi
Gaura-bhakta-vrnda!
(5) sri sri rddhd-krsna gopa-gopindtha
sydma-kunda rddha-kunda giri-
govardhana ki jaya!
All glories to Radha and Krsna, the lord
of the cowherd boys and girls, Krsna’s
and Radha’s bathing ponds — Syama-
kunda and Radha-kunda — and
Govardhana Hill!
(6) vrndavana-dhdma ki jaya!
All glories to Vrndavana-dhama!
(7) navadvipa-dhama ki jaya!
All glories to Navadvipa-dhama!
(8) yamuna-devi gahga-devi tulasi-devi
bhakti-devi ki jaya!
All glories to the Yamuna River, the
Ganga (Ganges River), Tulasi-devi and
Bhakti-devi (Srimati Radharani)!
(9) brhad mrdanga ki jaya!
All glories to the “big mrdanga, ” the
distribution of transcendental books,
which sound much further than an
ordinary mrdanga.
(10) hari-ndma sankirtana ki jaya!
All glories to the congregational chanting
of the holy name of Hari!
(11) samaveta bhakta-vrnda ki jaya!
All glories to the assembled devotees!
(12) gaura-premdnande hari-haribol!
Chant the names “Hari! Hari!” in the
ecstasy of Caitanya-prema, or love for
Lord Caitanya.
(13) All glories to the assembled devotees!
Hare Krsna!
All glories to the assembled devotees!
Hare Krsna!
All glories to the assembled devotees!
Hare Krsna!
All glories to Sri Guru and Gauraiiga!
SRI NRSIMHA PRANAMA
• •
Andante
C Verse 1 Lead and Response p
C FC
ka - si - por vak - sa - h si - la - tan - ka - na kha - la
-ye hi - ran - ya - ka - si - por vak - sa - h si - la - tan
C F
J рЧр- p Ip p p-и f
-to nr - sirh - ho ya - to ya - to ya - mi - ta - to nr - sim - hah i -
-to nr - sirh - hah pa - ra - to nr - sirh - ho ya - to - ya - to ya - mi ta -
C F Bb Gm C
- sirh - ha - ma - dim sa - ra - nam pra - pa - dye ba - hir nr - sirh - ho hr - da
Gm C F C F
-ye nr - sim - ho nr - sirh - ha - ma - dim sa - ra - narh pra - pa - dye
and straight into:
namas te narasimhdya
prahladdhldda-dayine
hiranyakasipor vaksah-
sila-tahka-nakhdlaye
it о nrsimhah para to nrsimho
yato yato yami tato nrsimhah
bahir nrsimho hrdaye nrsimho
nrsiriiham ddim saranam prapadye
’ I offer my obeisances to Lord Narasiriiha,
who gives joy to Prahlada Maharaja and whose
nails are like chisels on the stonelike chest of
the demon Hiranyakasipu.
Lord Nrsimha is here and also there.
Wherever I go Lord Nrsimha is there. He is
in the heart and is outside as well. I surrender
to Lord Nrsimha, the origin of all things and
the supreme refuge.
PRAYER TO LORD NRSIMHA
(from Sri Dasavatara-stotra)
by Jayadeva Gosvami
jay(a)ja - ga - di - sa ha - re
jay(a)ja - ga - di - sa ha - re
Finish - or can be extended
if desired, by the following:
PRAYER TO LORD NRSIMHA
dev(a) ja - ya nr - sirii - ha - dev(a) ja - ya nr - sim - ha - dev(a) ja - ya nr - sirh - ha -
| 1st time for all repeats || 2nd time for finish
K. J IIJ ? | J) J p p :|| J) jlj> Ji IJ
- da pra - bhu - pa - da ja - ya pra - bhu - pa - da ja - ya pra - bhu - pa - da
tava kara-kamala-vare nakham adbhuta-srngam
dalita hiranyakasipu-tanu-bhmgam
kesava dhrta-narahari-riipa jaya jagadisa hare
О Kesava! О Lord of the universe! О Lord
Hari, who have assumed the form of half-man,
half-lion! All glories to You! Just as one can
easily crush a wasp between one’s fingernails,
so in the same way the body of the wasplike
demon Hiranyakasipu has been ripped apart by
the wonderful pointed nails on Your beautiful
lotus hands.
SRI TULASI ARATI
CONTENT AND ORDER OF CEREMONY
This piljd, or worship, takes place almost
immediately after Mangala Arati, although in
some temples the time does differ. Srimati
Tulasi-devi is actually one of the principal gopis
who are always in attendance to Krsna. The
gopis are cowherd damsels of Vrndavana. Their
love for Krsna is considered by experts to be
the most pure.
Tulasi-devi is extremely dear to Krsna.
Indeed, one of the injunctions in the Vedic
literatures is that all food offered to installed
Deities of Sri Krsna or His expansions must
have Tulasi leaves or buds placed on each dish.
Preparations for Tulasi Puja begin when the
Tulasi plant is brought into the temple and put
on a special pedestal, usually in the middle of
the room. All the devotees then bow down and
chant the special Sri Tulasi Pranama-mantra
three times. Then, to the chanting of the
Tulasi-kirtana (five verses), the pdjdri offers
Sri Tulasi the following objects:
1. Incense.
2. A ghee lamp.
3. Flowers.
After the Tulasi Kirtana, the devotees walk in
a circle around Tulasi-devi while singing the
special circumambulation song, followed by the
Hare Krsna Maha-mantra. Then everyone again
bows down while chanting Sri Tulasi Pranama.
The devotees now chant their rounds until
the next arati, the “Greeting of the Deities,” at
7:00 a.m.
Chanting Rounds
Chanting the holy names of God softly to
oneself, while counting prayer beads to aid
concentration, is called japa, or “chanting
rounds.” The string of beads used is called
japa-mdld. To chant one round means to chant
the entire Mahd-mantra on each bead of the
entire string (excluding the head bead). The
108 beads represent the 108 principal gopis of
Vrndavana (the most intimate associates of Sri
Krsna) or the 108 Upanisads. Initiated devotees
within the International Society for Krishna
Consciousness (ISKCON) chant a minimum of
sixteen rounds every day.
During Tulasi Puja and the period for japa,
the pujaris bathe the Deities in warm water
and dress Them in Their day outfits, with fresh
flower garlands, jewelry and other adornments.
MUSIC AND CHANTS
1. Sri Tulasi Pranama — one verse, chanted
three times.
2. Sri Tulasi Kirtana — five verses.
3. Sri Tulasi Pradaksina-mantra — the
circumambulatory mantra. One verse, repeated
as often as required while walking or dancing
round the Tulasi tree.
4. The Рапса Tattva Mahd-mantra.
5. The Hare Krsna Maha-mantra — the melody
is chosen by the lead singer.
6. Sri Tulasi Pranama — one verse, chanted
three times.
This finishes the arati. (This is the only arati
of the day at which the Prema-dhvani Prayers
are omitted.) Immediately afterwards there
is this short chant:
7. Obeisances to all the devotees {Sri Vaisna-
va Pranamaj.
SRI TULASI PRANAMA
•
This is a short chant and as chants are individual and different with
each person, this music is only meant to be a guide. Chants arc usually sung round
three or four notes, mostly starting on middle C.
Rhythmically ,
vrn - da - yai tu - la - si - de - vyai pri - ya - yai ke - sa - vas - ya ca
Ъ «м «ь j. Ju1 jo Ml
krs - na - bhak - ti - pra - de de - vi sat - ya - vat_ yai na - mo na - ma - h
This should be repeated three times.
vrnddyai tulasi-devyai
priyayai kesavasya ca
krsna-bhakti-prade devi
satyavatyai namo namah
I offer my repeated obeisances unto Vrnda,
Srimati Tulasi-devi, who is very dear to Lord
Kesava. О goddess, you bestow devotional
service to Lord Krsna and possess the highest
truth.
SRI TULASi-KIRTANA
The first part of this song is often sung as a chorus after each verse.
Here it is used at the beginning of the song and also to finish
after the fifth verse. It is quite correct to do it either way.
Verse 5
I
I
I
I
I
I
I
(1)
namo namah. tulasi krsna-preyasi namo namah
rddhd-krsna-sevd pdbo ei abhildsi
(2)
je tomara sarana loy, tara vahcha purna hoy
krpd kori’ кого tare brnddvana-bdsl
(3)
mor ei abhilas, bildsa kunje'dio vas
nayane heribo sadd jugala-rupa-rasi
(4)
ei nivedana dharo, sakhir anugata кого
sevd-adhikdra diye кого nija ddst
(5)
dina krsna-dase koy, ei jena mora hoy
srl-radha-govinda-preme sadd jena bhasi
(1)0 Tulasi, beloved of Krsna, I bow before
you again and again. My desire is to obtain the
service of Sri Sri Radha-Krsna.
(2) Whoever takes shelter of you has his wishes
fulfilled. Bestowing your mercy on him, you
make him a resident of Vrndavana.
(3) My desire is that you will also grant me
a residence in the pleasure groves of Sri
Vrndavana-dhama. Thus, within my vision I
will always behold the beautiful pastimes of
Radha and Krsna.
(4) I beg you to make me a follower of the
cowherd damsels of Vraja. Please give me the
privilege of devotional service and make me
your own maidservant.
(5) This very fallen and lowly servant of Krsna
prays, “May I always swim in the love of Sri
Radha and Govinda.”
SRI TULASI PRADAKSINA MANTRA
(To be chanted while walking around Tulasi Devi)
Three alternative melodies are notated here. Any of these can be sung.
Rhythmically
ta - ni
pra dak - si - nah pa - de pa - de
ta - ni pra - nas - yan - ti
pa
brah-ma - hat - ya - di
ya
Bb
pra - dak -
nas - yan
yani kani ca papani
brahma-hatyadikdnl ca
tani tani pranasyanti
pradaksinah pade pade
By the circumambulation of Srimati Tulasi Devi
all the sins that one may have committed are
destroyed at every step, even the sin of killing
a brdhmana.
PANCA-TATTVA MAHA-MANTRA
PANCA-TATTVA MAHA-MANTRA
(jaya) srl-krsna-caitanya prabhu nityananda
srl-advaita gadadhara srivasadi-gaura-bhakta-vrnda
I offer my obeisances to Sri Krsna Caitanya,
Prabhu Nityananda, Sri Advaita, Gadadhara,
Srivasa and all others in the line; of devotion.
HARE KRSNA MAHA-MANTRA
• • •
Allegretto
F Lead and Response C F
- IliJ IJ I* ^p p p p
Ha - re Krs-na Ha - re Krs-na Krs-na Krs-na На-re Ha - re
The Maha-mantra melodies are repeated as many times as the lead singer desires
and to fit the time for the Arati as a whole. The kirtana can be extended
by the use of this very popular Maha-mantra melody.
C7
Ha - re
Ha - re
Krs-na Krs - na
Ha - re Krs - na
Ha - re Krs - na
Bb
C7
Ra
for finish
after repeats
Ha - re Ra - ma
Ra - ma Ra - ma
Ha - re Ha - re
Ha - re
F
F
When the kirtana is coming to an end, it usually finishes as follows:
F
C7
F
C
F
nit-ai gau-ra ha-ri bol
ha-ri bol
ha-ri bol ni - tai gau-ra ha-ri bol nit-ai
Cl F Gm F
gau-ra ha-ri bol ha-ri bol ha-ri bol ni - tai gau-ra ha-ri bol
And sometimes this is further extended by singing the names of the presiding
Deities of the particular temple where the Arati is taking place: for example
C7 F
ja - ya rad - ha go - ku-la-nan-da ra - dha - go - ku-la-nan-da ra - dhe - - ja - ya
/in
And to finish
ja - ya pra - bhu - pa - da ja - ya pra - bhu - pa - da
pra - bhu - pa - da ja - ya
pra - bhu
F Finish after all repeats
pa - da ja - ya pra - bhu
pa - da
The style of singing the Hare Krsna Maha-mantra is always set by the lead
singer and these variations shown here for finishing the kirtana are optional.
SRI TULASI PRANAMA
iO «ь ...«ь JiJiJUju *
vrn - da - yai tu - la - si - de - vyai pri - ya - yai ke - sa - va - sya ca
J> J UU V Ji JU JU J
krs - na - bhak ti - pra - de de - vi sat - ya - • vat_ yai na - mo na - ma h
This should be chanted three times.
SRI VAISNAVA PRANAMA
• • •
Obeisances to All the Devotees
van - cha - kal - pa - ta - ru - bh - yas ca kr - pa - sin dhu - bhya ev - a ca
Д -Kj——Ь—17
na - ti - ta - nam pa - va - ne - bhyo vais - na - ve - bhyo na - mo na - ma - h
This notation is only meant to give an indication of how this is chanted.
Chants should always be very rhythmical.
vdnchd-kalpa-tarubhyas ca
krpd-sindhubhya eva ca
patitdnam pavanebhyo
vaisnavebhyo namo namah
I offer my respectful obeisances unto all the
Vaisnava devotees of the Lord. They are just
like desire trees who can fulfill the desires of
everyone, and they are full of compassion for
the fallen conditioned souls.
л 1
GREETING OF THE
DEITIES AND GURU-PUJA
CONTENT AND ORDER OF CEREMONY
In many ISKCON temples the ceremony for
greeting the Deities is held at 7:00 a.m. The
pujari blows the conchshell three times, and
the curtains open to a recording of verses sung
from the Brahma-samhita. This beautiful and
ancient prayer by Lord Brahma was recorded
by George Harrison of the “Beatles.” His
Divine Grace A. C. Bhaktivedanta Swami
Prabhupada liked this recording so much that
he asked for it to be played each morning for
the Greeting of the Deities. This has become
an ISKCON custom.
During the playing of this recording the
devotees take three drops of water from a bowl
on the altar and sip them from their hands.
This water, called carandmrta, was used to
bathe the Deities and was mixed with yoghurt
and honey. It is taken for purification.
The pujari worshiping the Deities will offer
either incense, flowers, and a camara, or
incense, a camphor lamp, and a camara, or
simply a camara.
The devotees, having paid their obeisances
to the Deities, turn their attention towards
the murti (form) of Srila Prabhupada who sits
on the vyasdsana, most often on the opposite
side of the temple room, facing the altar. (The
devotees take care not to turn their backs on
the Deities). The devotees then sing the Guru-
pilja Bhajana and pay their obeisances to Srila
Prabhupada, offering flower petals to his feet.
This is followed by the singing of the Рапса
Tattva Mahd-mantra and an extended kirtana
of the Hare Krsna Mahd-mantra (to a melody
chosen by the lead singer).
Soon the conchshell blows three times and
the Prema-dhvani Prayers are recited. (Unlike
all the other dratis of the day, at this drati the
prayers to Lord Nrsirhha are not sung.) This
ends the morning ceremony.
MUSIC AND CHANTS
1. The altar curtains open to the recording of
two verses of the Brahma-samhita (5.30, 32):
Govindam ddi-purusam.
T Sri Guru vandana by Srila Narottama dasa
Thakura (from Prema-bhakti-candrikd).
3. The Pahca Tattva Maha-mantra.
4. The Hare Krsna Mahd-mantra (the melody
is left to the choice of the lead singer).
5. The Prema-dhvani Prayers.
SRI BRAHMA-SAMHITA
This should only be played if the recording is not available. Srila Prabhupada
liked the recording made by George Harrison and asked that it should be played
for “Greeting of the Deities” in all ISKCON temples.
Andantino
- vin - dam a - di - pu - ru - sam ta - ma - ham bha-ja - mi go
Cm Ab G
- vin - dam a - di - pu - ru - sam__ ta - ma - ham bha-ja - mi
Fm Cm
bar - ha - va - tarn sa - ma - si - tarn - bu - da sun - - da ran - gam
SRI BRAHMA-SAMHITA
SRI GURU-VANDANA
(from Prema-bhakti-candrika)
by Srila Narottama dasa Thakura
Andante
Dm
bha - i, e bha-va to - ri ya - ja - i, krs - na prapti
C Am Dm C
hoy - ja - ha - ha’ te krs - na prap ti - - hoy -
- ta - ma ga - ti,
je pra - sa - de pu - re sar - va__________________________ a
Dm F C Am
J> JO Я j -v- JH J) JU J J j> JH j> j^ J, I j I J Ji^
sa je pra - sa - de pu - re sar - va_______ a - sa
Piu Mosso
Dm Verse 3 Dm C Gm
<^Uj I ~ II:jq Ijuu IjO Jo U J^ j> jyM J
__ ca - khu-dan_ di - lo - jei, jan - me jan - me pra-bhu sei,_ div - ya - jhan
hr - de pro-ka - si - to dib ya jnan _ hr - de pro-ka si - to
SRI GURU-VANDANA
This is the usual way of finishing the song but it is optional. (a) a is not pronounced.
MUSIC AND CHANTS FOR GREETING OF THE DEITIES AND GURU-PUJA
(1)
sri-guru-carana-padma, kevala-bhakati-sadma,
bandd mid sdvadhana mate
jahdra prasade bhai, e bhava toriya jai,
krsna-prdpti hoy jdha ha’te
(2)
guru-mukha-padma-vdkya, cittete koriya aikya,
dr nd koriho mane dsd
sri-guru-carane rati, ei se uttama-gati,
je prasade pure sarva dsd
(3)
cakhu-dan dilo jei, janme janme prabhu sei,
divya-jnan hrde prokasito
prema-bhakti jdha hoite, avidyd vinasa jate,
vede gay jahdra carito
(4)
sri-guru karuna-sindhu, adhama janara bandhu,
lokandth lokera jivana
ha ha prabhu кого doya, deho more pada-chaya,
ebe jasa ghusuk tribhuvana
(dui pade laila sardna,
prabhupada-patita-pdvana)
(1) The lotus feet of our spiritual master are
the only way by which we can obtain pure
devotional service. I bow down to his lotus
feet with great awe and reverence. By his grace
one can cross the ocean of material suffering
and obtain the mercy of Krsna.
(2) My only wish is to have my consciousness
purified by the words emanating from his lotus
mouth. Attachment to his lotus feet is the
perfection that fulfills all desires.
(3) He opens my darkened eyes and fills my
heart with transcendental knowledge. He is my
lord birth after birth. From him ecstatic prema
emanates; by him ignorance is destroyed. The
Vedic scriptures sing of his character.
(4) Our spiritual master is the ocean of mercy,
the friend of the poor, and the lord and master
of the devotees. О master! Be merciful unto
us. Give us the shade of your lotus feet. Your
fame is spread all over the three worlds.
PANCA-TATTVA MAHA-MANTRA
Andante
Lead and Response Bb Eb BbF
(ja-ya) sri krs - na cai - tan - ya pra-bhu nit-ya - nan - da
sri-ad-vai - ta ga-dad-har(a)_______ sri-va-sa-di - gau-ra - bhakta-vrn da (Ja-ya) vrri-da
HARE KRSNA MAHA-MANTRA
Andante
HARE KRSNA MAHA-MANTRA
This is the usual finish:
Ha - re Krs - na Ha - re Krs - na Krs - na Krs - na Ha - re
„ _ 1st time all repeats
D G D A7 D
Ha - re Ha re Ra - ma Ha re Ra - ma Ra ma Ra - ma Ha re Ha - re Ha-re
I 2nd time I
D A7 D A7
Ha - re ni - tai gau - ra ha - ri bol ha - ri bol ha - ri bol ha - ri
Repeat this last section as many times as desired with the names of the Deities
associated with the particular temple. This kirtana can finally finish with the following:
Finish after repeating as many times as desired.
PREMA-DHVANl PRAYERS
(for text see page 28)
BEFORE THE SRIMAD-
BHAGAVATAM CLASS
After the Guru-puja the class on Srimad-
Bhdgavatam takes place. The Srlmad-Bhdga-
vatam is considered the jewel of all the Vedic
scriptures. It is composed of eighteen thousand
verses, giving insight and instruction on how
to understand and approach the Supreme
Personality of Godhead, Lord Sri Krsna.
The devotees have a class to study the Sri-
mad-Bhdgavatam each morning. They usually
study only one verse at each session. Before
this class they sing Jaya Radha Madhava, by
Srila Bhaktivinode Thakura. Srila Prabhupada
was especially fond of this song and said it was a
“true picture of Vrndavana.” He himself sang
this song before giving the regular Bhdgavatam
class. After singing Jaya Radha Madhava, the
devotees chant the mantra orh namo bhdgavate
vasudevdya. Class then commences.
Before the morning class the Deities have
been offered breakfast. This becomes mahd-
prasddam and is later distributed among the
devotees and guests.
JAYA RADHA MADHAVA
ja - ya rad - ha - mad ha - va kun-ja - bi - ha
Bm G A Bm
j. j j U- ju J 1j^j* j j j j. - s
ri ja - ya rad - ha - mad - ha - va kun-ja - bi - ha ri
A Bm
»j- J- J' j M i J. _ J- ж I j.
go - pi - ja - na - val - la_ bha, gi- ri - va - ra - dha ri go - pi - ja - na - val - la_
A Bm G A Bm
* JJi J J-l-J. J J J J J । J Ji Ji J) J
bha, gi - ri - va - ra - dha ri ya - so - da - nan - da - na, bra-ja - ja - na - ran - ja - na,
G A Bm G A Bm
hpJJJ JO IjrJ JO J JjJjOJOJ J J । J. Ji Ji J, J Щ
_ ya - so - da - nan - da - na, bra-ja - ja - na - ran - ja - na,_ ya - so - da - nan - da - na, bra-ja - ja - na - ran ja - naT
G A Bm A
О JO J J - J-JIJ Ji J J J J jJ J) Ji Ji Ji Ji J1 J. J.J J J J^g
__ ya - so - da - nan - da - na, bra-ja - ja - na - ran - ja - na, ya - mu-na - ti - ra va - na - ca
| 1st time all repeats q/ 11 2nd time for finish |
Bm A Bm Dal Segno 7$ Bm
KJ1 J jjrb—
ri ya - mu - na - ti_ ra - - va - na - ca_ ri ja - ya ri
MUSIC BEFORE THE SRIMAD-BHAGAVATAM CLASS
jaya radha-madhava kunja-bihdri
(jaya) gopt-jana-vallabha, giri-vara-dhdri
yasodd-nandana, braja-jana-ranjana,
yamima-tira-vana-cdri
Krsna is the lover of Radha. He displays many
amorous pastimes in the groves of Vrndavana,
He is the lover of the cowherd maidens of
Vraja, the holder of the great hill named
Govardhana, the beloved son of mother
Yasoda, the delighter of the inhabitants of
Vraja, and He wanders in the forests along the
banks of the River Yamuna.
If desired the following melody for the Maha-mantra may be sung to extend and
end Jaya Radha-Madhava.
Repeat as many times as desired.
Bm G Bm A
Ha - re Krs - na Ha - re________ Krs - na Krs - na-- Krs - na
Bm G Bm
INVOCATION BEFORE CLASS
от namo bhagavate vasudevaya
О my Lord, Sri Krsna, son of Vasudeva, О all-
pervading Personality of Godhead, I offer my
respectful obeisances unto you.
I PRASADA-SEVAYA
(from Gitavali)
by Srila Bhaktivinoda Thakura
(sung before honoring spiritual food)
M Mb-. M-.'ij) M M M
sa - ri - ra a - vid - ya-jal, jo - den dri - ya ta - he kal, ji - ve phe-le vi -
sa - ya -sa go - re ta - ’ra ma-dhye jih - va a - ti, lob - ha-moy su - dur ma - ti
3
- - - - 9 1 9- ~
ta’ ke je ta ко - thi na sorh - sa - re krs - na ba ro doy - a - moy, ко ri ba re
t-Mj .
jih - va joy, sva - pra-sad - an-na di - lo bhai sei an-namr - ta pao, rad - ha - krs-na - gu-na
| gao pre - me - da - ко cai - tan - ya - ni - tai ma - ha pra - sa - da ki - jaya
sarira avidya-jdl, jodendriya tahe kal,
jive phele visaya-sdgore
tar madhye jihvd ati, lobhamoy sudurmati
ta ’ke jeta kothina somsdre
krsna baro doyamoy, kori bare jihvd joy,
svaprasad-anna dilo bhai
sei anndmrta pao, radha-krsna-guna gao
preme dako caitanya-nitai
This material body is a network of ignorance,
and the senses are one’s deadly enemies, for
they throw the soul into this ocean of material
sense enjoyment. Among those senses the
tongue is most voracious and uncontrollable;
it is very difficult to conquer the tongue in this
world.
But Lord Krsna is very merciful and has
given us the remnants of His own food just
to control the tongue. Now please accept that
nectarean krsna-prasada and sing the glories of
Their Lordships Sri Sri Radha and Krsna, and
in love call out, “Caitanya! Nitai!”
RAJA BHOGA ARATI
(NOON ARATI)
CONTENT AND ORDER OF CEREMONY
The items offered at this drati, held at about
midday, are the same as those offered at
Mangala Arati, except for the addition of a
camphor lamp. The Noon Arati is called Raja
Bhoga because at this time the Deities are
offered the most opulent food of the day. The
selection of food offered is patterned on the
midday meal Mother Yasoda offered to Lord
Krsna as a young boy. While the food is
offered to the Deities, about twenty minutes
before drati, devotees assemble in the temple
room and sing a special bhajana called Bhoga
Arati, which details the many delightful dishes
offered to the Lord.
The drati begins after the food has been
offered and removed from the altar.
The ceremony lasts twenty-five minutes. As
at Mangala Arati, auspicious offerings are made
to the Lord in the following order:
1. Fragrant incense.
2. A camphor lamp.
3. A ghee lamp.
4. A conch full of water.
5. A cloth.
6. Fresh flowers.
7. A yak-tail whisk.
8. A peacock-feather fan (omitted during
cold weather).
At the end of the drati the pujdrl blows the
conch three times, closes the curtains and
cleans the altar.
After the Raja Bhoga Arati the Deities take
Their rest.
MUSIC AND CHANTS
1. Bhoga Arati (from Gitdvali), by Srila
Bhaktivinoda Thakura. It is up to the lead
singer to decide how many of the seventeen
verses of this song he will sing while the food is
being offered. After the food has been offered,
drati begins.
2. Obeisances to Srila Prabhupada. (Can be
the same melody as for Mangala Arati, or a
variation, as given here).
3. The Pahca Tattva Maha-mantra.
4. The Hare Krsna Mahd-mantra. This can
be sung to the same melody as Bhoga Arati,
or the usual and popular melody, as noted on
page 40. A great number of melodies for the
Hare Krsna Mantra are permitted at this drati;
the choice is up to the lead singer.
5. Prema-dhvani Prayers. As at all aratis
except Tulasi Arati, the Prema-dhvani Prayers
are chanted at the end of the Hare Krsna
kirtana. One person intones the prayer and all
the assembled devotees respond to each section
with the word jaya (victory).
6. Sri Nrsimha Pranama (including Prayer to
Lord Nrsimha) — three verses (same as at
Mangala Arati). For each drati I have given a
different melody for the singing of Sri Nrsimha
Pranama, but the same melody is valid for all
aratis. Again it is entirely a matter of choice.
BHOGA ARATI
(from Gitavali)
by Srila Bhaktivinoda Thakura
(Sung while the food is offered to the Deities)
Verse 1
bha - ja bha - ka - ta - vat - sa - la
sri - gau - ra ha - ri
bha - ja
nan - da - ja - so - ma - ti - cit - ta - ha - ri bha - ja bha - ka - ta - vat sa - la
G C F C G C
sri - gau - ra ha - ri bha - ja bha - ka ta - vat sa - la sri gau - ra ha - ri
G C F C G C
sri - gau - ra ha - ri bha - ja bha - ka ta - vat sa - la sri - gau - ra ha - ri
BHOGA ARATI
C G C FC
- saha sak - ha bai - se sa - ri sa - ri bha - ja bha - ka - ta - vat - sa - la
G C F C G C
sri - gau - ra ha - ri bha - ja bha - ka ta - vat - sa - la sri - gau - ra ha - ri
The remaining 14 verses follow the same melody and format.
The number of verses sung is optional and at the discretion of the lead singer.
(1)
bhaja bhakata-vatsala sri-gaurahari
sri-gaurahari sohi gostha-bhihdri,
nanda-jasomati-citta-hdri
(2)
beta ho’lo, ddmodara, aisa ekhano
bhoga-mandire bosi’ koraho bhojana
(3)
nandera nidese baise giri-bara-dhdri
baladeva-saha sakhd baise sari sari
(4)
sukta-sakadi bhaji nalita kusmanda
dali ddlnd dugdha-tumbi dadhi moca-kharida
(5)
mudga-bora masa-bora rotika ghrtanna
saskuli pistaka khlr puli pdyasdnna
(6)
karpura amrta — keli rambha khira-sara
amrta rasdld, amla dwadasa prakdra
(7)
luci cini sarpuri laddu rasdball
bhojana korena krsna ho ’ye kutuhali
(8)
radhikara pakka anna vividha byanjana
parama dnande krsna korena bhojana
(9)
chale-bale laddhu khay sri-madhumangala
bagala bdjdy dra deya hari-bolo
(10)
radhikadi gane herd nayanera kone
trpta ho ’ye khay krsna jasoda-bhavane
(11)
bhojanante piye krsna subasita bari
sabe mukha prakhaloy ho ’ye sari sari
(12)
hasta-mukha prakhaliya jata sakhd-gane
dnande bisrdma ко re baladeva-sane
(13)
jambula rasala dne tambula-masala
tdha kheye krsna-candra sukhe nidra geld
(14)
bisalakha sikhi-puccha-camara dhulaya
apiirba sayyaya krsna sukhe nidra jaya
(15)
jasomati-ajna pe ’ye dhanistha-anito
sri-krsna-prasdda radha bhunje ho ’ye prlto
(16)
lalitadi sakhi-gana avasesa pay a
mane mane sukhe radha-krsna-guna gdya
(17)
hari-lda ek-matra jahara pramoda
bhogarati gay thakur bhakativinoda
(1) Just worship Sri Gaurahari, who is always
affectionate toward His devotees. He is the
same Supreme Godhead, Krsna, who sported
SRILA PRABHUPADA PRANATI
Obeisances to Srila Prabhupada
Founder-Acarya of ISKCON
Moderate
C Lead and Response
J IJ lj> Mj x_________________lj) J^l j-j
na - ma om vis - nu - pa - da - ya krs - na pres - tha - ya
f PANCA-TATTVA MAHA-MANTRA
gau - ra
bhak - ta - vrn - da
ja - ya vrn - da
nd follow immediately by:
HARE KRSNA MAHA-MANTRA
• • •
Many melodies may be sung for the Maha-mantra at this time. This is a suggested melody.
IT Il2. for finish
PREMA-DHVANI prayers
(for text see page 28)
SRI NRSIMHA PRANAMA
• •
Andante
Lead and response
MUSIC AND CHANTS FOR RAJA BHOGA ARATI
PRAYER TO LORD NRSIMHA
•
(from Sri Dasavatara-stotra)
by Jayadcva Gosvami
Eb
Fm
Lead and Response
Cm
kham
ad - bhu - ta
Fm
ta - va ka - ra - ka - ma la - va - re
Cm Eb
srn
hir
Cm
gam
Cm
Fm
ta - nu - bhrii - gam
ke - sa - va dhr - ta
Eb Fm
na-ra ha - ri
i. J;
ja - ya ja - ga di
Bb
ru
pa
ja - ya ja - ga
sa ha - re
Cm
di
ja - ya ja - ga di
sa ha - re
sa ha - re
This song is usually finished as shown below.
Bb7 Eb
ja - ya nr - sirh_____________ ha - dev(a) ja - ya nr - sim_______________________ ha - dev(a)
Bb Eb Bb7
nr - sirh - ha - dev(a)____ ja - ya nr - sim - ha - dev(a) ja - ya nr - sirh - ha - dev(a) _ ja - ya
Eb Bb Eb
nr - sirh - ha - dev(a) nr - sirh - ha - dev(a) ja - ya nr - sirh - ha - dev(a) ja - ya
Bb7 Eb Bb
prah-lad ma - ha - raj(a) ja - ya prah-lad - ma - ha - raj(a) prah-lad - ma - ha - raj(a) ja . ya
Eb Bb7 Eb
prah - lad - ma - ha - raj(a) ja - ya prah - lad - ma - ha - raj(a) ja - ya prah - lad - ma - ha -
PRAYER TO LORD NRSIMHA
(a) not pronounced
I This melody for Sri Nrsirhha Pranama is the most usual one. However there are many melodies that arc sung to this
prayer and I have given a different one for each arati where this is sung.
AFTERNOON ARATI
CONTENT AND ORDER OF CEREMONY
This is a short drati.
The pujdri offers only three items at this
time:
1. Incense.
2. Flowers.
3. Yak-tail whisk.
At every drati, even the short ones, the
pujdri blows the conchshell three times at the
beginning and three times at the end.
A short time before this drati begins, the
Deities are offered fruit and possibly cakes,
sweets, and a drink appropriate to the season.
For the afternoon drati there are limitless
melodies from which to choose. The melodies
I have given are only suggestions.
Sometimes devotees stand to sing and
sometimes they sit. When they stand and
dance, accompanied by karatalas (small hand
cymbals) and mrdanga (clay drum), the
chanting is called kirtana. Chanting while
seated, although also a kind of kirtana, is
generally called bhajana. Usually, bhajanas are
more meditative and are often accompanied
by harmonium or tambura, as well as mrdanga
and karatalas.
MUSIC AND CHANTS
The afternoon drati usually lasts from eight
to fifteen minutes. The melodies notated here
are suggested melodies. The choice of music
for this particular drati is wide and up to the
lead singer.
1. Obeisances to Srila Prabhupada, Founder-
dedrya of ISKCON.
2. The Рапса Tattva Mahd-mantra.
3. The Hare Krsna Mahd-mantra.
4. The Prema-dhvani Prayers.
5. Srl Nrsimha Pranama.
6. Prayer to Lord Nrsimha.
Moderate
SRILA PRABHUPADA PRANATI
Obeisances to Srila Prabhupada
Founder-Acarya of ISKCON
PANCA-TATTVA MAHA-MANTRA
(a) not pronounced.
MUSIC AND CHANTS FOR THE AFTERNOON ARATI
C F C G
-ho - ba - hir nr - sim - ho hr - da - ye nr - sim - ho nr - sim - ham a - dim sa - ra -
C G C
- nam pra - pa - dye nr - sim ham-a - dim sa - ra - narh pra - pa - dye
And straight into the following:
I PRAYER TO LORD NRSIMHA
bi •
(from Sri Dasavatara-stotra)
by Jayadeva Gosvami
i
c
ta - va ka - ra - ka - ma - la - va - re na - kham_ ad - bhu - ta - srri - gam
F C
da - li - ta - hi - ran - ya - ka - si - pu - ta - nu - bhrn - gam ke - sa - va
PRAYER TO LORD NRSLMHA
F C7 F
- raja ja - ya prah-lad(a) ma - ha - raj(a) prah-lad(a) ma - ha - raj(a) ja - ya prah-lad(a) ma - ha
C7 F C7
- raj(a) ja - ya prah-lad(a)ma - ha - raj(a) ja - ya prah-lad(a)ma - ha - raj(a) prah4ad(a)ma ha -
F C7 F
- raj(a) ja - ya prah-lad(a) ma - ha - raj(a) ja - ya pra - bhu - pa - da ja - ya pra - bhu - pa
I 1st time 11 2nd time for finish
C7 F F
- da pra-bhu - pa - da ja - ya pra - bhu - pa - da ja - ya pra - bhu - pa - da
(a) not pronounced
SANDHYA ARATI
(EARLY EVENING ARATI)
CONTENT AND ORDER OF CEREMONY
This drati is considered a most important
drati, just like Mangala Arati. This is a “full”
drati, with all the offerings. Usually, this is the
time when kirtanas are sung with the greatest
enthusiasm. After the drati finishes, a
Bhagavad-gitd class is given in the temple room
for part of the evening or until the next drati.
About twenty minutes before this drati
begins, the pujdri offers food to the Deities.
After the drati all the food offered is taken
from the altar and distributed as maha-
prasddam to the assembled devotees. One
should always eat, or “respect,” at least a little.
To refuse maha-prasddam is considered an
offence.
The pujdri blows the conch three times to
signify the beginning of the drati and draws the
curtains back.
The offerings are made as follows:
1. Fragrant incense.
2. A ghee lamp.
3. A conch shell full of water.
4. A cloth.
5. Fresh flowers.
6. Yak-tail whisk.
7. Peacock-feather fan (omitted in cold
weather).
The conch shell is blown three times to
signify the end of the drati. At the end of the
Nrsimha Prayers the curtains close. Then the
pujdri cleanses the altar.
MUSIC AND CHANTS
1. In a few temples obeisances to Srila
Prabhupada begin the drati. For those temples
that do, this melody is inserted here for the
sake of completion. Otherwise start directly
with the drati song.
2. Gaura Arati (from Gitdvalij, by Srila
Bhaktivinoda Thakura, seven verses (this is
known as the evening melody).
3. The Рапса Tattva Mahd-mantra — sung to the
evening melody.
4. The Hare Krsna Mahd-mantra — sung to the
evening melody.
5. The Prema-dhvani Prayers.
6. Sri Nrsimha Pranama.
7. Prayer to Lord Nrsimha.
SRILA PRABHUPADA PRANATI
Obeisances to Srila Prabhupada
Founder-Acarya of ISKCON
Sung to the evening melody.
Andante
D D Lead and Response
------ ||:j J1 J J —'IJ Ji J J—JJ1 ? ? ? J J
na - ma orh__ vis - nu - pa - da - ya krs - na - pres tha - ya
GAD
bhu - ta - le sri - ma - te bhak - ti - ve - dan - ta sva - mi - ni - ti
AD Bm
na___ mi - ne na - mas te sa - ras-va-ti de - ve gau-ra - va - ni - pra
GAD A
ca - ri ne nir-vi-se - sa - sun ya_ va_ di - pas-ca-tya - de-sa - ta - ri - ne
and straight into:
GAURA ARATI
(from Gitavali)
by Srila Bhaktivinoda Thakura
Verse 1
D Bm
GAD A
GAD A
san-kha___ ba-je ghan - ta ba - je ba - je ka - ra - ta la
GAD A
GAURA ARATI
(1)
jaya jaya goracdnder aratiko sobha
jdhnavl-tata-vane jaga-mana-lobha
(2)
dakhine nitaicand, bame gadddhara
nikate adv ait a, srlnivasa chatra-dhara
(3)
bosiyache goracand ratna-simhasane
arati koren brahmd-adi deva-gane
(4)
narahari-adi kori’ camara dhidaya
sanjaya-mukunda-basu-ghos-adi gdya
(5)
sarikha baje ghanta baje baje karatala
madhura mrdanga baje parama rasala
(6)
bahu-koti candra jinV vadana ujjvala
gala-dese bana-mdld kore jhalamala
(7)
siva-suka-narada preme gada-gada
bhakativinoda dekhe gorara sampada
(1) All glories, all glories to the beautiful arati
ceremony of Lord Caitanya. This Gaura-arati
is taking place in a grove on the banks of the
Jahnavi [Ganges] and is attracting the minds of
all living entities in the universe.
(2) On Lord Caitanya’s right side is Lord
Nityananda, and on His left is Sri Gadadhara.
Nearby stands Sri Advaita, and Srivasa
Thakura is holding an umbrella over Lord
Caitanya’s head.
(3) Lord Caitanya has sat down on a jeweled
throne, and the demigods, headed by Lord
Brahma, perform the arati ceremony.
(4) Narahari Sarakara and other associates of
Lord Caitanya fan Him with cdmaras, and
devotees headed by Sanjaya Pandita, Mukunda
Datta, and Vasu Ghosa sing sweet kirtana.
(5) Conchshells, bells, and karatalas resound,
and the mrdangas play very sweetly. This
kirtana music is supremely sweet and relishable
to hear.
(6) The brilliance of Lord Caitanya’s face
conquers millions upon millions of moons, and
the garland of forest flowers around His neck
shines.
(7) Lord Siva, Sukadeva Gosvami, and Narada
Muni are all there, and their voices are choked
with the ecstasy of transcendental love. Thus
Thakura Bhaktivinoda envisions the glory of
Lord Sri Caitanya.
MUSIC AND CHANTS FOR SANDHYA ARATI
PANCA-TATTVA MAHA-MANTRA
D Bm
sri - krs - na - cai - tan - ya pra-bhu nit - ya _ nan - da
Repeat as desired and then straight into:
HARE KRSNA MAHA-MANTRA
• • •
(Sung to the evening melody)
D Bm
Ha - re Krs-na Ha - re_______ Krs - na Krs-na Krs-na Ha - re Ha-re
| 1st time all repeats
G ______________A_______________D___________________ A_________ Repeat as desired
$*‘j j । j J'AJ jQ'iJ'Wxzffi “I
_ На-re Ra - ma Ha - re_ Ra - ma x Ra-ma_ Ra-ma Ha-re На-re Ha- following:-
| 2nd time finish or extend | ду p_ду
* J) IlJ J- IJ J Js IJ -i................................-.HmI
Ha - re Ha - re Ha - re Krs - na Ha - re Krs - na Krs na Krs - na Ha - re
D
A7
D
A7
HARE KRSNA MAHA-MANTRA
• t •
D
A
I 1st time all repeats
D
11 2nd time
D
bol
ha - ri
bol ni - tai gau - ra ha - ri
bol ni - tai gau - ra ha -
ri
bol ja - ya
A7
D
ft Ж 14
| 1st time
ra - dha go-ku la-nan-da ra - dha
go - ku la-nan-da ra
dhe ja - ya
Repeat as many times as
desired with the names
of the Deities associated
with the temple and
finish with:
| 2nd time
A7
D
- dha ja - ya
pra - bhu
pa - da ja - ya pra - bhu
pa - da
A7 D 1st time all repeats || 2nd time finish |
pra - bhu_________ pa - da
ja - ya pra - bhu_____________ pa - da ja - ya - da
PREMA-DHVANI PRAYERS
(for text see page 28)
SRI NRSIMHA PRANAMA
• •
Moderate) Verse 1
Q1
MUSIC AND CHANTS FOR SANDHYA ARATI
D РЙт D Film
- hah pa - ra - to - nr - sirh - ho i - to nr - sirh - hah pa - ra - to - nr - sirh - ho i -
-to nr - sirh - hah_____________ pa - ra - to - nr - sirh - ho i - to nr - sim - hah - pa - ra - to - nr - sirh
-ho ya - to ya - to ya - mi ta - to nr - sirh - hah ya - to ya - to ya - mi ta -
-to nr - sirh - hah ba - hir nr - sirh - ho hr - da - ye - nr - sirh - ho ba - hir nr - sirh -
-ho hr - da ye___________________ nr - sirh - ho ba - hir nr - sirh - ho___________________________ hr - da ye_______________ nr - sirh - ho ba -
D F||m Bm
- hir nr - sirh - ho________________ hr - da ye__________________ nr - sirh - ho - n - r - sirh - ham a - dim sa - ra
Bm
- nam pra - pa - dye n - r - sirh - ham a - dim sa - ra - narh pra - pa dye
and straight into
PRAYER TO LORD NRSIMHA
(from Sri Dasavatara-stotra)
by Jayadeva Gosvami
PRAYER TO LORD NRSIMHA
- ran-ya - ka - si - pu - ta - nu - bhrii - gam ke - sa - va dhr - ta - na - ra ha - ri
ru - pa ke - sa - va dhr - ta na - ra ha - ri гй
E F#m E
- pa jay(a) ja - ga - di - sa ha - re jay(a) ja - ga di - sa ha -
11st time for repeats “ finish 11 2nd time (if desired)
Bm
tJj 1
- re_____ - re____________ ja - ya nr - sim - ha - dev(a) ja - ya nr - sim - ha -
A7 D A7
- dev(a) nr - sim - ha - dev(a) ja - ya nr - sim - ha dev(a)ja - ya prah-lad(a) ma-ha - raja ja - ya
D A7 D
prah-lad(a) ma - ha raj(a) prah-lad(a) ma - ha - raj(a) ja - ya prah-lad(a) ma - ha - raj(a) ja - ya
A7 D A7
pra - bhu - pa - da ja - ya pra - bhu - pa - da pra - bhu - pa -
| 1st time all repeats 11 2nd time for finish
D D
• da ja - ya pra - bhu - pa - da ja - ya pra - bhu - pa - da
си
SRILA PRABHUPADA PRANATI
Obeisances to Srila Prabhupada
Founder-Acarya of ISKCON
Moderate
Lead and Response
Then straight into
PANCA-TATTVA MAHA-MANTRA
(a) not pronounced
Repeat as desired and then follow with the Hare Krsna Maha-mantra
QA
SAYANA ARATI
(LATE EVENING ARATI)
CONTENT AND ORDER OF CEREMONY
This is the last drati of the day and is only a
short one, lasting about ten minutes, with a
further twenty minutes to take darsana of the
Deities before the curtains close. There are
usually the following offerings:
1. Incense.
2. Flowers.
3. Yak-tail whisk.
Between 8:00 p.m. and 8.30 p.m. the Deities
are offered bhoga. This offering may be simple
or elaborate. At 9.30 p.m. the curtains close
and the altar is thoroughly cleansed and
cleared. The pujdri then takes off all the
Deities’ jewelry, including Their crowns and
earrings. Lord Krsna’s flute is also removed to
make Him more comfortable. The pujdri then
chants special mantras to put the Deities to
bed.
Although the night garments do not have
elaborate embroidery, they are still very
beautiful and colourful. The Deities do not
wear flower garlands during the night.
Western ISKCON temples are mostly left
quiet during the night, except during special
festivals, when bhajana may continue through
part or all of the night.
The singing of bhajana and kirtana in the
temple room should always be of the highest
devotional standard. No rehearsal of music
is allowed in the temple room.
MUSIC AND CHANTS
The choice of music is open, but an evening
melody for the Hare Krsna Mahd-mantra is
recommended.
The order of music is as follows:
1. Obeisances to Srila Prabhupada, Founder-
Acdrya of ISKCON.
2. The Рапса Tattva Mahd-mantra.
3. The Hare Krsna Mahd-mantra.
4. The Prema-dhvani Prayers.
5. Srl Nrsimha Pranama Prayers (alternative
melody).
6. Prayer to Lord Nrsimha.
HARE KRSNA MAHA-MANTRA
• • •
Andante
- re Krs - na Krs - na Krs - na Ha - re Ha - re Ha - re
Em B7
Ra - ma Ha - re Ra - ma Ra - ma Ra - ma Ha - re Ha -
1st time all repeats 11 2nd time |
Em Em Em
re Ha - re - re Ha - re Krs - na Ha - re Krs - na
B7 Em Am
_ Krs - na Krs - na Ha - re Ha - re Ha - re Ra - ma Ha - re
| 1st time all repeats || 2nd time for finish
B7 Em Em
Repeat as desired
There are a wide variety of melodies for the Maha-mantra sung at the Sayana Arati;
the only provision being that the tempo should be on the slow side and it should be sung softly and sweetly.
PREMA-DHVANI PRAYERS
(for text see page 28)
SRI NRSIMHA PRANAMA
ya
na
mas te na - ra
na - mas te na - ra - sim - ha
Eb
Eb
- da
por vak-sa - h
PRAYER TO LORD NRSIMHA
(from Sri Dasavatara-stotra)
by Jayadeva Gosvami
Eb
Cm
Fm
C Bb Eb Cm
da - li - ta - hi - ran ya - ka - si - pu - ta nu - bhrn - gam ke - sa - va dhr - ta
Fm Eb F Bb
- na - ra - ha - ri ru - pa jay(a) ja - ga - di - sa ha - re jay(a) ja - ga di - sa ha -
„ „ 1st time 2nd time
Cm Fm еь» Eb
re jay(a) ja - ga di - sa ha - re - re ja - ya
(optional ending)
Ab Eb Bb7
nr - sim - ha - dev(a) ja - ya nr - sim - ha - dev(a) nr - sim_________________________ ha dev(a) - ja - ya
Eb Ab Eb
1 I j Ji Ap JU' M|J Jo 1.0 JO IJ
nr - sim - ha - dev(a) ja - ya prah-lad(a)_ maha-raj(a) ja - ya prah-lad(a) ma - ha - raj(a)
Bb7 Eb Ab
prah-lad(a) ma - ha raj(a) - ja - ya prah-lad(a) ma - ha raj(a) ja - ya pra-bhu - pa - da ja - ya
. 1st time 2nd time
Eb Bb7 Eb all repeats finish
О JO Ji IJ I Ji -,Q Ji IJ JO I JO ,Ji IJ Ji >11J
pra-bhu - pa - da pra-bhu - pa - da ja - ya pra-bhu - pa - da ja - ya -da
Not pronounced.
BHAJANS
NAMA-SANKlRTANA
by Srila Narottama dasa Thakura
- ri ha - ra - ye na - ma - h krs - na ya - da - va - ya na - ma - h krs -
C D Em Em ' D
- na ya - da - va - ya na - ma - h ya - da - va - ya ma-dha - va - ya
- na ya - da - va - ya na - ma - h
ya - da - va - ya
ma-dha - va - ya
Verse 2
C D Em G C D B7
ke - sa - va - ya na - ma - h
Em D C
go - pa - la go - vin - da - ram(a) sri - ma - dhu - su - dan(a)_
Bm C D ] 12nd time
Em Em and Chorus к
J K .....-J |„ :|l J.
gi se3 C - ri -I - dha - ri go c Pi - na - tha ma - da - na D к к I I - mo B7 к - han(a) han ha -
Em D
•> к к 1 n Pl Г\ 1 L К
1 A 1 11 1 1 J 1 j 1 • к n
• — 1 I
* e J ' «
sri - cai - tan - ya nit - ya nan - da sri - ad-vai - ta - si - t< i ha - r gu ru
c Bm c D к к 1st time Em I 2nd ti Em me 7 1 П
< V -> —s = 1 s s—> > J
- 1 1 J- 1
л ' a Iff
9 *
vais - na - ba bha - ga -va - ta gi - ta gi - ta ha -
and Chorus
^rse 4G C D B7 Em D
- pa - la bha - tta____________ da - sa - ra - ghu - nath - nath ha
All the remaining 6 verses follow this pattern, but generally when this particular melody is used only 4 verses are sung,
'a) not pronounced
(for text see page 27)
GOPINATHA
by Snla Bhaktivinoda Thakura
Lento
GOPINATHA
The remaining four verses
follow the same pattern
(1)
gopinath, mama nivedana suno
visayi durjana, sadd kdma-rata,
kichu nahi mora guna
(2)
gopinath, amara bharasa tumi
to тага carane, loinu sarana,
tomdra kinkora ami
(3)
gopinath, kemone sodhibe more
nd jdni bhakati, karme jada-mati,
porechi somsdra-ghore
(4)
gopinath, sakali tomara maya
nahi mama bala, jridna sunirmala,
swadhina nahe e kdyd
(5)
gopinath, niyata carane sthana
mage e pdmara, kdndiyd kandiya,
korohe karund dana
(6)
gopinath, tumi to’ sakali par о
dur jane tdrite, tomdra sakati,
ke ache pdpira dro
(7)
gopinath, tumi krpa-parabara
jivera kdrane, asiya prapance,
lila koile subistdra
(8)
gopinath, ami ki dose dost
asura sakala, pdilo carana,
vinoda thdkilo bosi’
(1) О Gopinatha, Lord of the go pis, please
hear my request. I am a wicked materialist,
always addicted to worldly desires, and no
good qualities do I possess.
(2) О Gopinatha, You are my only hope, and
therefore I have taken shelter at Your lotus
feet. I am now Your eternal servant.
(3) О Gopinatha, how will You purify me?
I do not know what devotion is, and my
materialistic mind is absorbed in fruitive work.
I have fallen into this dark and perilous worldly
existence.
(4) О Gopinatha, everything here is Your
illusory energy. I have no strength or
transcendental knowledge, and this body of
mine is not independent and free from the
control of material nature.
(5) О Gopinatha, this sinner, who is weeping
and weeping, begs for an eternal place at Your
divine feet. Please give him Your mercy.
(6) О Gopinatha, You are able to do anything,
and therefore You have the power to deliver all
sinners. Who is there that is more of a sinner
than myself?
(7) О Gopinatha, You are the ocean of mercy.
Having come into this phenomenal world, You
expand Your divine pastimes for the sake of
the fallen souls.
(8) О Gopinatha, I am so sinful that although
all the demons attained Your lotus feet,
Bhaktivinoda has remained in worldly
existence.
BHAJANS
SAVARANA-SRl-GAURA-PADA-PADME
(from Prarthana)
by Srila Narottama dasa Thakura
Andante
Dm
pra-bhu
Lead and Response
Verse 1
Dm
re_____
do - ya ко - ro
- krs - na - cai
sri - krs - na - cai - tan - ya
pra - bhu
SAVARANASRI-GAURA-PADA-PADME
I 1st time 11 2nd time
Gm F C F F
pre - man - an - da su khi_____________________ ha - khi_____ krp - a - ba - lo
Gm Am Gm F
ka - na ко - ro a - mi - bo - ro __________________________________________________ duhk-hi krp -
F Gm Am Gm F
11 J U ' Г~Гм Г"~ГГ p Ip J'"' |JQ J> -4J1 J.
a - ba - lo - ka - na ко - ro a - mi - bo - ro duhkhi
The remaining three verses all follow the same pattern.
(1)
sri-krsna-caitanya prabhu doya кого more
tomd bind ke doydlu jagat-samsdre
(2)
patita-pdvana-hetu tava avatara
mo sama patita prabhu nd pdibe dra
(3)
hd hd prabhu nityananda, premananda sukhi
krpabalokana кого ami boro duhkhi
(4)
doya кого sita-pati adwaita gosai
tava krpd-bale pdi caitanya-nitai
(5)
ha ha swarup, sanatana, rupa, raghunatha
bhatta-juga, sri-jiva hd prabhu lokandtha
(6)
doya кого sri-acarya prabhu srinivasa
ramacandra-sanga mage narottama-ddsa
(1) My dear Lord, please be merciful
to me, because who can be more merciful than
Your Lordship within these three worlds?
(2) Your incarnation is just to reclaim the
conditioned, fallen souls, but I assure You that
You will not find a greater fallen soul than me.
Therefore, my claim is first.
(3) My dear Lord Nityananda, You are always
joyful in spiritual bliss. Since You always ap-
pear very happy, I have come to You because
I am most unhappy. If You kindly put Your
glance over me, I may also become happy.
(4) My dear Advaita Prabhu, husband of Sita,
you are so kind. Please be kind to me. If you
are kind to me, naturally Lord Caitanya and
Nityananda will also be kind to me.
(5) О my dear Svarupa Damodara, Sri
Sanatana, Sri Rupa, Sri Raghunatha Bhatta,
Sri Raghunatha dasa, Sri Jiva, Sri Gopala
Bhatta, please be merciful unto me.
(6) О my dear Srinivasa Acarya, please give
me your blessings. О Ramacandra Cakravarti
(my dearmost friend), I (Narottama dasa)
always desire your company.
QS
RAGHUPATI RAGHAVA
Allegretto
ra - ghu pa - ti ra - gha - va
D Em D A E
ra - ja ram pa - ti - ta pa - va - na - si - ta - ram ra - ghu pa - ti
ra - gha-va ra - ja ram pa - ti - ta pa - va - na si - ta - ram
Em D A E
pa - ti - ta pa - va - na - si - ta - ram ra - ghu pa - ti ra - gha -
Fflm D Bm Am Em
|J- 4л-- «ь i* ~ p «ь IJ nRepeat as de
ra - ja ram pa - ti - ta pa - va - na si - ta - ram
This song is extremely popular in India, and is sung constantly at celebrations.
raghu pati raghava raja rama
patita pdvana slta-rdma
sri rama jaya rama jaya jaya rama
slta-rdma jaya slta-rdma
SRI NAMA (FROM GITAVAU)
by Srila Bhaktivinoda Thakura
Ritmico e moderate
gay go - ra ma - dhur swa - re gay go - ra
Bb Eb Ab Bb7 Eb
ma - dhur swa - re gay go - ra ma - dhur swa - re ha - re
Ab F7
MFJ J - |i AJ
krs - na ha - re krs - na krs-na krs-na ha - re ha-re ha-re ra - ma
Eb Ab Bb7 1st time Eb 2nd time Eb
У; ж ж Г П—1 jS 1 У -A—к —s—V”
г г г г М J. J J 4 1 -«H—-) a * cJ * —<sb —s ' l-e
ha - re ra - ma ra - ma ra - ma ha - re ha - re ha - re - re
Chorus
Ab Bb Eb Ab Bb7 Eb
УтН — — •
' .1 1 • V
1 як
О - д; w «_» gay go - ra ma - dhur swa - re gay go - ra ma - dhur swa - re
F7 Eb Ab Bb Eb
tY-H—t, J J J J J— > i —ч—s— — 1
suk-he - duhkhe т г г г bhu - lo na - ’ко, va - da - ne ha - ri - aam —i J ° J ко - ro re
Chorus
/ <b Bb Eb Ab Bb
1 1
3 I- • • J
r 11 • г > 1 a
— я г /X.
о - о - - gay go - ra ma - dhur swa - re gay go - ra ma - dhur swa -
Verse 2 (Cont.)
- re gay go - ra ma - dhur swa - re ha - re krs - na ha - i
Ab F7 Eb
krs - na_____ krs-na___ krs-na ha - re ha-re ha-re ra - ma ha - re ra - m
ra - ma_ ra - ma - ha - re ha - re ha - re - re gay go - ra
Bb Eb Ab Bb7 Eb
ma - dhur swa - re gay go - ra ma - dhur swa - re
Verse3 Bb Cm Bb Eb
ma ya - ja - le bad - dha ho - ’ye , a - cho__ mi - che ka - ja lo - ’ye
F7 Eb Ab Bb7 Eb
^1, IH UUJUU If Г Г г J J lo
ek-ho - na ce - ta - na pe - ’ye, ’ra-dha_ madhav’_ nam bo - lo re
Chorus
gay go - ra ma - dhur swa - re gay go - ra ma - dhur swa
Eb Ab Bb Eb
- re gay go - ra ma - dhur swa - re ha - re krs - na ha - re
Ab F7 Eb
b'-b J J'IiM'lJ Ii JU. Ir r r f
krs - na krs-na___ krs-na ha - re ha-re ha-re ra - ma ha - re ra - ma
ra - ma___ ra - ma_____ ha - re ha - re ha - re - re gay go - ra
Bb Eb Ab Bb7 Eb
ma - dhur swa - re gay go - ra ma - dhur swa - re
Eb Ab Bb Eb
- re gay go - ra ma - dhur swa - re ha - re krs - na ha re
Ab
Eb
F7
J"1
krs - na
Ab
Bb
re ha - re
1st time
Eb
krs-na___ krs-na ha
ha - re ra
11 2nd time
ma ha - re ra - ma
I Chorus
' Ab
gay
re
ra - ma____ ra - ma_______ ha
go - ra
re ha
ha - re - re
Bb
Eb
Ab
Bb7
Eb
ma
dhur swa
re
gay
go
ra
ma
dhur swa
re
(1)
gay gora madhur sware
hare krsna hare krsna krsna krsna hare hare
hare rama hare rama rama rama hare hare
(2)
grhe thako, vane thako, sadd ‘hari’ bole’ dako,
sukhe duhkhe bhulo nd ’ко, vadane hari-nam
кого re
(3)
mdya-jdle baddha ho ’ye, acho miche kdja
lo ’ye,
ekhona cetana pe’ye, ‘rddha-mddhav’ ndm
bolo re
(4)
jivana hoilo sesa, na bhajile hrsikesa
bhaktivinodapadesa, ekbdr nam-rase mato re
(1) Lord Gaurasundara sings in a very sweet
voice, Hare Krsna, Hare Krsna, Krsna Krsna,
Hare Hare/ Hare Rama, Hare Rama, Rama
Rama, Hare Hare.
(2) Whether you are a householder or a
sannyasi, constantly chant “Hari! Hari!” Do
not forget this chanting, whether you are in a
happy condition or a distressful one. Just fill
your lips with the hari-ndma.
(3) You are bound up in the network of mdya
and are forced to toil fruitlessly. Now you have
obtained full consciousness in the human form
of life, so chant the names of Radha-Madhava.
(4) Your life may end at any moment, and you
have not served the Lord of the senses, Hrsike-
sa. Take this advice of Bhaktivinoda Thakura:
“Just once, relish the nectar of the holy name!”
SRI RADHIKA-STAVA
Chorus
Andante
(from Stava-mala)
by Srila Rupa Gosvami
F C F
ta - ru - ni - man-da - la - ma-hi - te ra - dhe ja - ya ja - ya mad - ha - va - day-i - te
Verse 1
C
hp . p i-7-jp-p-p if г - к
da-mo-da - ra - ra - ti var - dha - na - ve - se ha - ri - ni -
F C
s sku - ta - vrn - da - vi - pi - ne - se
followed by chorus
Verse 2
C
^||:V -p- HP' P-P~ I'7 bp p
vrs-ab-ha - nil - da - dhi na - va - sa - si - le - khe la - li - ta -
Verse 3
(chorus) radhe jaya jaya madhava-dayite gokula-taruni-mandala-mahite (2) vrsabhanudadhi-nava-sasi-lekhe lalitd-sakhi guna-ramita-visdkhe
(1) damodara-rati-vardhana-vese hari-niskuta-vrndd-vipinese (3) karundm kuru mayi karuna-hharite sanaka-sandtana-varnita-carite
(chorus) О Radha! О beloved of Madhava! О
You who are worshiped by all the young girls
of Gokula! All glories unto You! All glories
unto You!
(1) О You who dress Yourself in such a way
as to increase Lord Damodara’s love and
attachment for You! О Queen of Vrndavana,
which is the pleasure grove of Lord Hari!
(2) О new moon who has arisen from the
ocean of King Vrsabhanu! О friend of Lalita!
О You who make Visakha loyal to You due
to Your wonderful qualities of friendliness,
kindness, and faithfulness to Krsna!
(3) О You who are filled with compassion! О
You whose divine characteristics are described
by the great sages Sanaka and Sanatana! О
Radha, please be merciful to me!
Rubato
ISTA-DEVE VIJNAPTI
by Srila Narottama dasa Thakura
sam sa - ra - bi - sa
na - le,
1 no
ISTA-DEVE VIJNAPTI
(1)
hari hari! bifale janama gohainu
manusya-janama pdiyd, rddhd-krsna nd bhajiyd,
jdniyd suniya bisa khdinu
(2)
golokera prema-dhana, hari-ndma-sankirtana,
rati nd janmilo kene tdy
samsdra-bisdnale, dibd-nisi hiya jwale,
jurdite nd koinu updy
(3)
brajendra-nandana jei, saci-suta hoilo sei,
balarama hoilo nitai
dina-hina jata chilo, hari-name uddhdrilo,
tdra sdksi jagai madhdi
(4)
hd hd prabhu nanda-suta, vrsabhanu-sutd-juta,
koruna karoho ei-bdro
narottama-ddsa koy, nd theliho rdnga pay,
tomd bine ke ache dmara
(1) О Lord Hari, I have spent my life uselessly.
Having obtained a human birth and having not
worshiped Radha and Krsna, I have knowingly
drunk poison.
(2) The treasure of divine love in Goloka
Vrndavana has descended as the congregational
chanting of Lord Hari’s holy names. Why did my
attraction for that chanting never come about? Day
and night my heart burns from the fire of the
poison of worldliness, and I have not taken the
means to relieve it.
(3) Lord Krsna, who is the son of the King of Vraja,
became the son of Saci (Lord Caitanya), and
Balarama became Nitai. The holy name delivered
all those souls who were lowly and wretched. The
two sinners Jagai and Madhai are evidence of this.
(4) О Lord Krsna, son of Nanda, accompanied by
the daughter of Vrsabhanu, please be merciful to
me now. Narottama dasa says, “O Lord, please do
not push me away from Your reddish lotus feet,
for who is my beloved except for You?”
SRI DASAVATARA-STOTRA
by Jayadeva Gosvaini
Em A D
All the next 10 verses follow the same pattern with slight variations in duration of notes to fit the Sanskrit words. (a) not pronounced
(1)
pralaya-payodhi-jale dhrtavan asi vedam
vihita-vahitra-caritram akhedam
kesava dhrta-mina-sarira jaya jagadisa hare
(2)
ksitir iha vipulatare tisthati tava prsthe
dharani-dhdrana-kina-cakra-garisthe
kesava dhrta-kurma-sarira jaya jagadisa hare
(3)
vasati dasana-sikhare dharani tava lagna
sasini kalahka-kaleva nimagnd
kesava dhrta-sukara-rupa jaya jagadisa hare
(4)
tava kara-kamala-vare nakham adbhuta-srrigam
dalita-hiranyakasipu-tanu-bhrhgam
kesava dhrta-narahari-rupa jaya jagadisa hare
(5)
chalayasi vikramane balim adbhuta-vamana
pada-nakha-nira-janita-jana-pdvana
kesava dhrta-vdmana-riipa jaya jagadisa hare
(6)
ksatriya-rudhira-maye jagad-apagata-papam
snapayasi payasi samita-bhava-tapam
kesava dhrta-bhrgupati-rilpa jaya jagadisa hare
(7)
vitarasi diksu rane dik-pati-kamamyam
dasa-mukha-mauli-balim ramaniyam
kesava dhrta-rdma-sarira jaya jagadisa hare
(8)
vahasi vapusi visade vasanam jaladabham
hala-hati-bhiti-milita-yamundbham
kesava dhrta-haladhara-rupa jaya jagadisa hare
(9)
nindasi yajna-vidher ahaha sruti-jatam
sadaya-hrdaya darsita-pasu-ghdtam
kesava dhrta-buddha-sarira jaya jagadisa hare
(10)
mleccha-nivaha-nidhane kalayasi karavalam
dhiimaketum iva kirn api kardlam
kesava dhrta-kalki-sarira jaya jagadisa hare
(H)
sri-jayadeva-kaver idam uditam udaram
srnu stikha-dam subha-dam bhava-saram
kesava dhrta-dasa-vidha-rdpa jaya jagadisa hare
(12)
vedan uddharate jaganti vahate bhu-golam
udbibhrate
daityam ddrayate balim chalayate ksatra-
ksayam kurvate
paulastyam jayate halam kalayate kdrunyam
dtanvate
mlecchdn mdrchayate dasdkrti-krte krsndya
tubhyam namah.
(1) О Kesava! О Lord of the universe! О Lord
Hari, who have assumed the form of a fish! All
glories to You! You easily acted as a boat in
the form of a giant fish just to give protection
to the Vedas, which had become immersed in
the turbulent sea of devastation.
(2) О Kesava! О Lord of the universe! О Lord
Hari, who have assumed the form of a tortoise!
All glories to You! In this incarnation as a
divine tortoise the great Mandara Mountain
rests upon Your gigantic back as a pivot for
churning the ocean of milk. From holding up
the huge mountain a large scarlike depression
is put in Your back, which has become most
glorious.
(3) О Kesava! О Lord of the universe! О Lord
Hari, who have assumed the form of a boar!
All glories to You! The earth, which had
become immersed in the Garbhodaka Ocean
at the bottom of the universe, sits fixed upon
the tip of Your tusk like a spot upon the moon.
(4) О Kesava! О Lord of the universe! О Lord
Hari, who have assumed the form of half-man,
half-lion! All glories to You! Just as one can
easily crush a wasp between one’s fingernails,
so in the same way the body of the wasplike
demon Hiranyakasipu has been ripped apart by
the wonderful pointed nails on Your beautiful
lotus hands.
(5) О Kesava! О Lord of the universe! О Lord
Hari, who have assumed the form of a dwarf-
brdhmana\ All glories to You! О wonderful
dwarf, by Your massive steps You deceive King
Bali, and by the Ganges water that has
emanated from the nails of Your lotus feet,
You deliver all living beings within this world.
(6) О Kesava! О Lord of the universe! О Lord
Hari, who have assumed the form of Bhrgupati
[Parasurama]! All glories to You! At
Kuruksetra You bathe the earth in the rivers
of blood from the bodies of the demoniac
ksatriyas that You have slain. The sins of the
world are washed away by You, and because of
You people are relieved from the blazing fire
of material existence.
(7) О Kesava! О Lord of the universe! О Lord
Hari, who have assumed the form of
Ramacandra! All glories to You! In the battle
of Lanka You destroy the ten-headed demon
Ravana and distribute his heads as a delightful
offering to the presiding deities of the ten
directions, headed by Indra. This action was
long desired by all of them, who were much
harassed by this monster.
(8) О Kesava! О Lord of the universe! О Lord
Hari, who have assumed the form of Balarama,
the wiclder of the plow! All glories to You! On
Your brilliant white body You wear garments
the color of a fresh blue rain cloud. These
garments are colored like the beautiful dark
hue of the River Yamuna, who feels great fear
due to the striking of Your plowshare.
(9) О Kesava! О Lord of the universe! О Lord
Hari, who have assumed the form of Buddha!
All glories to You! О Buddha of compassionate
heart, you decry the slaughtering of poor
animals performed according to the rules of
Vedic sacrifice.
(10) О Kesava! О Lord of the universe! О
Lord Hari, who have assumed the form of
Kalki! All glories to You! You appear like a
comet and carry a terrifying sword for bringing
about the annihilation of the wicked barbarian
men at the end of the Kali-yuga..
(И) О Kesava! О Lord of the universe! О
Lord Hari, who have assumed these ten
different forms of incarnation! All glories to
You! О readers, please hear this hymn of the
poet Jayadeva, which is most excellent, an
awarder of happiness, a bestower of
auspiciousness, and is the best thing in this
dark world.
(12) О Lord Krsna, I offer my obeisances unto
You, who appear in the forms of these ten
incarnations. In the form of Matsya You rescue
the Vedas, and as Kurma You bear the
Mandara Mountain on Your back. As Varaha
You lift the earth with Your tusk, and in the
form of Narasirhha You tear open the chest
of the daitya Hiranyakasipu. In the form of
Vamana You trick the daitya king Bali by
asking him for only three steps of land, and
then You take away the whole universe from
him by expanding Your steps. As Parasurama
You slay all of the wicked ksatriyas, and as
Ramacandra You conquer the rdksasa king
Ravana. In the form of Balarama You carry a
plow with which You subdue the wicked and
draw toward You the River Yamuna. As Lord
Buddha You show compassion toward all the
living beings suffering in this world, and at the
end of the Kali-yuga You appear as Kalki to
bewilder the mlecchas [degraded low-class
men].
MANAHSIKSA
• •
(from Prarthana)
by Srila Narottama dasa Thakura
Em Em G D Bm Em G
su-si-ta-la, je chayay ja - ga - ta ju - ray jc-chayay
Em Bm Em D Em Dm Bm
p M ,b I Ahi j -Jw A M ~ 1* A.b A J.
I - ja-ga-ta ju - ray_____________ he-no ni - tai bi - ne bh-ai, rad-ha-krs-na pa - it - e nai,
G Em D Bm Em G Em D Em
b. j) I;j д,Ь | j^j b JiAh| j- -b jb J1 Л| J AAMI j, |
drd-ha ko-ri’ dha-ro ni-tair pay drd-ha ко ri’___________ dha - ro ni - tair pay
se sam-ban-dha na - hi ja’ ra, brt-ha jan-ma ge - lo ta’- ra, sei____________________________ pa - su _
Bm Em Em D Bm Em
I M j) ,ь i^j л Ahi-j-2^ W ? ।jj'AF-АЛ
| _ bo - ro du - ra - car sei - pa - su bo - ro du - ra - car
a - han - ka - re mat - ta hoi - ya,
ni - tai - pa - da pa - sa - ri - ya,_____ a - sat-ye-re
MANAH-SIKSA
(1)
nitdi-pada-kamala, koti-candra-susitala,
je chdyay jagata jurdy
heno nitai bine bhdi, rddha-krsna pdite ndi,
drdha kori’ dharo nitdir pay
(2)
se sambandha nahi ja ’r, brtha janma gelo ta ’r,
sei pas и boro durdcdr
nitai nd bolilo mukhe, majilo samsdra-sukhe,
vidya-kule ki koribe tar
(3)
ahahkare matta hoiya, nitai-pada pdsariya,
asatyere satya kori mdni
nitdiyer koruna habe, braje rddha-krsna pdbe,
dharo nitdi-carana du ’khdni
(4)
nitaiyer carana satya, tahara sevaka nitya,
nitdi-pada sadd кого dsa
narottama boro dukhi, nitai more кого sukhi,
rakho rdngd-caranera pdsa
Purport by A.C. Bhaktivedanta Swami Prabhupada
This is a very nice song sung by Narottama
dasa Thakura. He advises that nitdi-pada, the
lotus feet of Lord Nityananda (kamala means
“lotus,” and pada means “feet”), are a shelter
where one will get the soothing moonlight not
only of one, but of millions of moons. We can
just imagine the aggregate total value of the
soothing shine of millions of moons. In this
material world (jagat), which is progressing
toward hell, there is always a blazing fire, and
everyone is struggling hard without finding
peace; therefore, if the world wants to have
real peace, it should take shelter under the
lotus feet of Lord Nityananda, which are
cooling like the shining of a million moons.
Jurdya means “relief”. If one actually wants
relief from the struggle of existence and
actually wants to extinguish the blazing fire
of material pangs, Narottama dasa Thakura
advises, “Please take shelter of Lord
Nityananda.”
What will be the result of accepting the
shelter of the lotus feet of Lord Nityananda?
He says, heno nitai bine bhdi: unless one takes
shelter under the shade of the lotus feet of
Lord Nityananda, rddha-krsna pdite ndi - it will
be very difficult for him to approach Radha-
Krsna. The aim of this Krsna consciousness
movement is to enable us to approach Radha-
Krsna and associate with the Supreme Lord
in His sublime pleasure dance. Narottama dasa
Thakura advises that if one actually wants to
enter into the dancing party of Radha-Krsna,
he must accept the shelter of the lotus feet
of Lord Nityananda.
Then he says, se sambandha ndhi. Samban-
dha means “connection” or “contact”. Anyone
who has not contacted a relationship with
Nityananda is understood to have spoiled his
human birth. In another song also, Narottama
dasa says, hari hari bifale janama gohainu:
anyone who does not approach Radha-Krsna
through a relationship with Nityananda has
uselessly spoiled his life. Brtha means “useless”,
janma means “life”, td’r means “his”, and
sambandha means “relationship”. Anyone who
does not make a relationship with Nityananda
is simply spoiling the boon of his human form
of life. Why is he spoiling it? Sei pasu boro
durdcdr. Sei means “that,” pasu means
“animal,” and durdcdr means “misbehaved”
or “the most misbehaved”. Without elevation
to Krsna consciousness through the mercy of
Lord Caitanya and Nityananda, life is simply
spoiled in the animal propensities of sense
gratification. Narottama dasa says that ordinary
animals can be tamed, but when a human being
is animalistic, having only animal propensities,
he is most horrible, for he cannot be tamed.
Ordinary cats and dog or even a tiger can be
tamed, but when a human being goes out of
his way and neglects to take to the human
activitiy of Krsna consciousness, his higher
intelligence will simply be misused for animal
propensities, and it is very difficult to tame
him. The enactment of state laws cannot make
a thief an honest man - because his heart is
polluted, he cannot be tamed. Every man sees
that a person who commits criminal offenses
is punished by the government, and also in
scriptural injunctions punishment in hell is
mentioned. But despite hearing from scripture
and seeing the action of the state laws, the
demoniac cannot be tamed.
What are they doing? Nitai nd bolilo mukhe.
Since they do not know who Nityananda is,
they never say the names of Lord Nityananda
and Lord Caitanya. Majilo samsdra-sukhe.
Majilo means “becomes absorbed”. They be-
come absorbed in so-called material enjoyment.
They don’t care who Lord Caitanya and Nitya-
nanda are, and therefore they go deep down
into material existence. Vidyd-kule ki koribe
tar: if one has no connection with Nityananda,
and if he does not come to Krsna conscious-
ness, his vidyd, or his so-called academic
education, and kula, birth in a high family or
great nation, will not protect him. Regardless
of whether one is born in a very big family
or nation or has a very advanced academic
education, at the time of death nature’s law
will act, his work will be finished, and he will
get another body according to that work.
Why are these human animals acting in this
way? Ahankdre matta hoiyd, nitdi-pada
pdsariyd. They have become maddened by
a false concept of bodily life, and thus they
have forgotten their eternal relationship with
Nityananda. Asatyere satya kori mdni: such
forgetful persons accept the illusory energy as
factual. Asatyere refers to that which is not
a fact, or, in other words, mdya. Maya means
that which has no existence but is a temporary
illusion only. Persons who have no contact with
Nityananda accept this illusory body as factual.
Narottama dasa Thakura then says, nitaiyer
koruna habe, braje rddhd-krsna pdbe: “If you
actually want to approach the association of
Radha-Krsna, you must achieve the mercy of
Lord Nityananda first. When He is merciful
to you, then you will be able to approach
Radha-Krsna.” Dharo nitdi-carana du’khani.
Narottama dasa advises that one firmly catch
the lotus feet of Lord Nityananda.
Then again he says, nitdi-carana satya. One
should not misunderstand and think that as he
has caught hold of mdya, similarly the lotus
feet of Nityananda may also be something like
that mayd, or illusion. Therefore Narottama
dasa confirms, nitdi-carana satya: the lotus feet
of Nityananda are not illusion; they are a fact.
Tahara sevaka nitya: and one who engages in
the transcendental loving service of Nityananda
is also transcendental. If one engages in the
transcendental loving service of Nityananda
in Krsna consciousness, he immediately
achieves his transcendental position on the
spiritual platform, which is eternal and blissful.
Therefore he advises, nitdi-pada sadd кого
asa: always try to catch the lotus feet of Lord
Nityananda.
Narottama boro dukhi. Narottama dasa
Thakura, the acdrya, is taking the position that
he is very unhappy. Actually, he is representing
ourselves. He says, “My dear Lord, I am very
unhappy.” Nitdi more кого sukhi: “Therefore
I am praying to Lord Nityananda to make me
happy.” Rdkho rangd-caranera pdsa: “Please
keep me in a corner of Your lotus feet.”
SRI NAMA-KIRTANA
(from Gitavali)
by Srila Bhaktivinoda Thakura
rerse 1
;e 3
Gm
Gm
C
dha
na
ma - da - na - ma - no - ha - ra,
ka - li - ya - da - ma - na - vi
G
Am
vi
Ha - re
ya
bha - ka - ti
no - da - sra
c
07
F
F
Bb
Krs - na
На-re Ha - re
На-re Ra - ma Ha-re
Ha-re Krs - na Krs-na Krs - na
F
| 1st time for repeats
C7 F
C || 2nd time for finish
C7 F
(1)
yasomati-nandana, braja-baro-nagara,
gokula-ranjana kana
gopi-pardna-dhana, madana-manohara,
kdliya-damana-vidhdna
(2)
amala harinam amiya-vilasa
vipina-purandara, navina ndgara-bora,
bamsi-badana suvdsd
(3)
braja-jana-palana, asura-kula-nasana,
nanda-godhana-rdkho wdla
govinda mddhava, navariita-taskara,
sundara nanda-gopdld
(4)
jamuna-tata-cara, gopi-basana-hara,
rasa-rasika, krpamoya
sri-rddha-vallabha, brnddbana-natabara,
bhakativinod-asraya
(1) Lord Krsna is the beloved son of mother
Yasoda; the transcendental lover in the land of
Vraja; the delight of Gokula; Kana [a nickname
of Krsna]; the wealth of the lives of the gopis.
He steals the mind of even Cupid and punishes
the Kaliya serpent.
(2) These pure, holy names of Lord Hari are
full of sweet, nectarean pastimes. Krsna is the
Lord of the twelve forests of Vraja, He is ever-
youthful and is the best of lovers. He is always
playing on a flute, and He is an excellent
dresser.
(3) Krsna is the protector of the inhabitants
of Vraja; the destroyer of various demoniac
dynasties; the keeper and tender of Nanda
Maharaja’s cows; the giver of pleasure to the
cows, land and spiritual senses; the husband of
the goddess of fortune; the butter thief; and
the beautiful cowherd boy of Nanda Maharaja.
(4) Krsna wanders along the banks of the River
Yamuna. He stole the garments of the young
damsels of Vraja who were bathing there. He
delights in the mellows of the rasa dance; He is
very merciful; the lover and beloved of Srimati
Radharam; the great dancer of Vrndavana;
and the shelter and only refuge of Thakura
Bhaktivinoda.
SRI VRAJA-DHAMA-MAHIMAMRTA
(jaya radhe jaya krsna)
| 2nd time
Verse 2 Em D Em
- han sya - ma - kun - da, ra - dha - kun - da, gi - ri - go - vard -
1st time 11 2nd time
G G D D D D
JM— i i— К—К— 1 1 1— 1-|
1 • 1 J
—L/th 4 J—— J— x; £ ~ Ш I ’ * * Ил a • л
1 Tf* . . '
- han sya - ma han ka - lin - di ja - mu - na ja - ya,
P | 1st time || 2nd time
Em
—U------------1! J' All J,
__ ja - ya ma - ha - van ka - lin - van ja - ya
sri - nan - da - nan - dan ja ha - dan ja - ya
The next 8 verses all follow the same pattern. The chorus is repeated as desired.
SRI VRAJA-DHAMA-MAHIMAMRTA
(1)
jaya radhe, jaya krsna, jaya vrndavan
sri-govinda, gopindtha, madana-mohan
(2)
sydma-kunda, radha-kunda, giri-govardhan
kalindi jamuna jaya, jaya mahdvan-
(3)
kesi-ghdta, barhsi-bata, dwadasa-kanan
jdha saba lild koilo sri-nanda-nandan
(4)
sn-nanda-jasoda jaya, jaya gopa-gan
sriddmddi jaya, jaya dhenu-vatsa-gan
(5)
jaya brsabhanu, jaya kirtida sundari
jaya paurnamdsi, jaya dbhira-ndgari
(6)
jaya jaya gopiswara vrndavana-majh
jaya jaya krsna-sakhd batu dwija-raj
(7)
jaya rama-ghdta, jaya rohim-nandan
jaya jaya vrnddvana-bdsi jata jan
(8)
jaya dwija-patni, jaya naga-kanya-gan.
bhaktite jahdra paido govinda-caran
(9)
sri-rasa-mandala jaya, jaya radha-syam
jaya jaya rasa-lila sarva-manoram
(W)
jaya jayojjwala-rasa sarva-rasa-sar
parakiya-bhave jdha brajete pracdr
(И)
sri-jdhnava-pada-padma koriya smaran.
dina krsna-ddsa kohe ndma-sankirtan
(1) All glories to Radha and Krsna and the
divine forest of Vrndavana. All glories to the
three presiding Deities of Vrndavana-Sri
Govinda, Gopinatha, and Madana-mohana.
(2) All glories to Syama-kunda, Radha-kunda,
Govardhana Hill, and the Yamuna River
(Kalindi). All glories to the great forest known
as Mahavana, where Krsna and Balarama
displayed all of Their childhood pastimes.
(3) All glories to Kesi-ghata, where Krsna
killed the Kesi demon. All glories to the
Varhsi-vata tree, where Krsna attracted all the
gopis to come by playing His flute. Glories
to all of the twelve forests of Vraja. At these
places the son of Nanda, Sri Krsna, performed
all of His pastimes.
(4) All glories to Krsna’s divine father and
mother, Nanda and Yasoda. All glories to the
cowherd boys, headed by Sridama, the older
brother of Srimati Radharani and Anahga
Manjari. All glories to the cows and calves of
Vraja.
(5) All glories to Radha’s divine father and
mother, Vrsabhanu and the beautiful Kirtida.
All glories to Paurnamasi, the mother of
Sandipani Muni, grandmother of
Madhumaiigala and Nandimukhi, and beloved
disciple of Devarsi Narada. All glories to the
young cowherd maidens of Vraja.
(6) All glories, all glories to Gopisvara Siva,
who resides in Vrndavana in order to protect
the holy dhdima. All glories, all glories to
Krsna’s funny brdhmana friend,
Madhumaiigala.
(7) All glories to Rama-ghata, where Lord
Balarama performed His rasa dance. All glories
to Lord Balarama, the son of Rohini. All
glories, all glories to all of the residents of
Vrndavana.
(8) All glories to the wives of the proud Vedic
brdhmanas. All glories to the wives of the
Kaliya serpent. Through pure devotion they
all obtained the lotus feet of Lord Govinda.
(9) AH glories to the place where the rasa
dance of Sri Krsna was performed. All glories
to Radha and Syama. All glories, all glories
to the divine rasa dance, which is the most
beautiful of all Lord Krsna’s pastimes.
(10) All glories, all glories to the mellow of
conjugal love, which is the most excellent of
all rasas and is propagated in Vraja by Sri
Krsna in the form of the divine parakiya-bhdva
[paramour love].
(11) Remembering the lotus feet of Lord
Nityananda’s consort, Sri Jahnava Devi, this
very fallen and lowly servant of Krsna sings the
sahkirtana of the holy name.
Andante
Verse 1
GURUDEVA
(from Saranagati)
by Srila Bhaktivinoda Thakura
Lead and response
Bb
gu - ru - dev!
kr - pa - bin - du
Verse 2 C Dm / C Dm
sa - ka - le sam - ma - na ко - ri - te sa - ka - ti, de - ho’ na tha! ja - tha-ja - tha
Am F Bb F C Dm
p J I Ъ Д1M j>-h П jjj
ta - be to’ ga - i - bo, ha-ri - na ma - suk - he, a - pa-ra dha - ha’ - be ha - ta
Verse 3 C Dm Bm Em
I J AfrlJ
ka-be he-no kr - pa, la - bhi-ya e ja - na,___ krt-ar-thaho - i - be na - tha!
sak-ti - bud-dhi - hi - na, a - mi a - ti di - na, ко ro’ mo re at - ma sa - tha
Verse 4 C Dm C D
jll:Л-Д м,Ь.Х IЛ M N J MIЛ P1 Л_______________________________________IJ
jog-ya-ta-vi - ca - re, ki-chuna-hi pa - i, to - ma - ra - ka - ru - na - sa - ra
A F В b F C Dm p)ai Segno 7^
ka-ru-na na hoi - le kandi - ya kan - di - ya _ pra na na _ rakhi-bo a - ra
Go back to
first verse
then finish
GURUDEVA
(1)
gurudev!
krpa-bindu diya, кого’ ei ddse,
trndpekhd ati hma
sakala sahane, bala diya кого’,
nija-mdne sprhd-hina
(2)
sakale sammana korite sakati,
deho’ ndtha! jathdjatha
tabe to’ gaibo, hari-ndma-sukhe,
aparddha ha ’be hate
kabe heno krpa, labhiyd e jana,
krtdrtha hoibe, ndtha!
sakti-buddhi-hina, ami ati dlna,
кого’ more atma-sdtha
(4)
jogyata-vicare, kichu nahi pai,
tomdra karuna - sara
karimdi nd hoile, kandiyd kandiya,
prana nd rdkhibo dra
(1) Gurudeva! By a drop of your mercy make
this servant of yours more humble than a blade
of grass. Give me strength to bear all trials
and troubles, and free me from all desires for
personal honor.
(2) О lord and master! Invest me with the
power to properly honor all living beings. Only
then will I sing the holy name in great ecstasy
and will all my offenses cease.
(3) О lord and master! When will this devotee
be blessed by obtaining your mercy? I am low,
fallen, and devoid of all strength and
intelligence. Please make me your beloved
servant.
(4) When I examine myself, I find nothing of
value. Your mercy is therefore essential to me.
If you are not merciful, I will constantly weep,
and I will not maintain my life any longer.
OHE! VAISNAVA THAKURA
• • •
(from Saranagati)
by Srila Bhaktivinoda Thakura
Andante Lead and Response
cha-ya, sod - ho he a - ma - ya,__________ to - ma - ra ca - ra - na dho- - ri
This first verse also serves as the chorus and is repeated between each verse.
The beginning of this verse is very much left to the personal interpretation of the singer.
Verse 3 D Em Bm Em
c - ka - ki a - ma ra, na - hi pa - ya ba - la, ha - ri - na - ma - sah - kir_ ta - n - e
Bm Am Em D Em
>** p p p I p p * I p p p p Ip ^p p ш -Ю hi ,ou°wbychorus
tu-mi kr-pa ко-ri’, sraddha - bindu di - ya, _ de-ho’krs-na-na - ma - dha- ne
OHE! VAISNAVA THAKURA
• • •
(1)
ohe!
vaisnaba thakura, doydra sagara,
e ddse koruna kori’
diya pada-chdyd, sodho he dmdya,
tomara carana dhori
(2)
chaya bega domi’, chaya dosa sodhi’,
chaya guna deho’ ddse
chaya sat-sanga, deho ’ he amdre,
boshechi sangera dse
(3)
ekdkt amara, nahi paya bala,
hari-nama-sankirtane
tumi krpa kori’ sraddhd-bindu diya,
deho’ krsna-ndma-dhane
(4)
krsna se tomara, krsna dite paro,
tomara sakati ache
ami to’ kahgdla, 'krsna’ ‘krsna’ boli’,
dhdi tava pache pdche
(1) О Vaisnava Thakura, О ocean of mercy,
be merciful to me, your servant, and purify
me by the shade of your lotus feet. Your feet
I humbly hold.
(2) Controlling my six urges and purifying me
of the six faults, please give to your servant the
six good qualities. Oh, give me the six kinds
of holy association. I have sat down here in the
hope of having your company.
(3) Alone, I find I have no strength to chant
the holy name of Lord Hari. I beg you,
therefore, please be merciful, and with a
particle of faith, give me the great treasure
of the holy name of Krsna.
(4) Krsna is yours. You are able to give Him
to me, for such is your power. I am indeed
wretched and simply run after you, crying,
“Krsna! Krsna!”
SRI GURU PARAMPARA
by Srila Bhaktisiddhanta Sarasvati Gosvami Prabhupada
The remaining 8 verses all follow the same pattern.
In order to fit all the words to the basic melody, the time values of some of the notes will be slightly altered.
This freedom to extemporise on the melody is in accordance with Vaisnava tradition.
(1)
krsna hoite catur-mukha, hoy sevonmukha,
brahma hoite ndradera mati
narada hoite vyasa, madhwa kohe dasa,
purnaprajha padmanabha gati
(2)
nrhari madhava-bamse, aksobhya paramahamse,
sisya bold angikdra kore
aksobhyera sisya jaya- tirtha name paricaya,
tara ddsye jnanasindhu tore
.
tdha hoite dayanidhi, tara dasa vidhyanidhi,
rajendra hoilo tahd ha ’te
tahdra kihkora jaya- dharma name paricaya,
parampard jdno bhdlo mate
(4)
jayadharma-dasye khyati, sri purusottama- jati,
ta ha ’te brahmanya-tirtha sdri
vyasatlrtha tara dasa, laksmipati vyasa-dasa,
tahd ha ’te madhavendra part
(5)
madhavendra puri-bara, sisya-bara sri- iswara,
nityananda, sri-adwaita vibhu
iswara-purlke dhanya, korilen sri-caitanya,
jagad-guru gaura mahdprabhu
(6)
mahaprabhu sri-caitanya, radha-krsna nahe anya,
nipdnuga janera jivana
viswambhara priyahkara, sri-swarupa damodara,
sri-goswdmi rupa-sandtana
(7)
rupa-priya mahajana, jiva, raghunatha hana,
tara priya kavi krsnaddsa
krsnaddsa-priya-bara, narottama sevd-para,
jdra pada viswandtha-dsa
(8)
i viswandtha-bhakta-satha, baladeva jaganndtha,
tara priya srl-bhaktiv inoda
mahd-bhdgavata-bara, srl-gaurakisora-bara,
hari-bhajanete ja ’ra moda
(9)*
ihard paramahariisa, gaurangera nija-bamsa,
tddera carane mama gati
ami sebd-uddsina, ndmete tridandl dina,
srl-bhaktisiddhanta saraswati
(1) In the beginning of creation the science
of devotional service was received by the four-
headed Brahma from the Supreme Lord Sri
Krsna. Devarsi Narada’s understanding of this
divine science was obtained from Brahma. The
great sage Krsna Dvaipayana Vyasa, who was
empowered to compile the Vedic literatures,
became a disciple of Devarsi Narada. Sripada
Madhvacarya, the founder of the suddha-dvaita
school of Vedanta philosophy, who visited
Vyasadeva at Badarikasrama in the thirteenth
century to learn from him Vedanta philosophy,
calls himself a servant of Krsna Dvaipayana
Vyasa. Purnaprajha Tirtha [Madhva] is the
guru and sole refuge of Padmanabha Tirtha.
(2) The two other principal disciples of
Madhva are Nrhari Tirtha and Madhava Tirtha.
Madhava Tirtha accepted the great
paramahamsa Aksobhya Tirtha as a disciple.
The principal disciple of Aksobhya Tirtha was
known as Jayatirtha. Jayatirtha’s service was
for his disciple Jnanasindhu.
(3) Dayanidhi received the science of
devotional service from Jnanasindhu, and the
servant of Dayanidhi was Vidyanidhi
[Vidyadhiraja Tirtha], Rajendra Tirtha became
a disciple of Vidyadhiraja Tirtha. Rajendra
Tirtha’s servant was known as Jayadharma or
Vijayadhvaja Tirtha. In this way you should
properly understand this disciplic succession.
(4) The great sannyasl Sri Purusottama Tirtha
received his knowledge in the service of his
guru, Vijayadhvaja Tirtha [Jayadharma]. The
principal disciple of Purusottama Tirtha was
Subrahmanya Tirtha. His servant was the great
Vyasatlrtha [Vyasa Raya], Vyasatlrtha’s servant
was Laksmipati Tirtha, whose disciple was
Madhavendra Puri Gosvami.
(5) The chief disciple of Madhavendra Puri
was Isvara Puri, and two of his other disciples
were the renowned incarnations of Godhead
Sri Nityananda and Advaita Acarya. Sri
Caitanya Mahaprabhu, the spiritual preceptor
of all the worlds, made Isvara Puri greatly
fortunately accepting him as His spiritual
master.
(6) Mahaprabhu Sri Caitanya is nondifferent
from Sri Sri Radha and Krsna and is the very
life of those Vaisnavas who follow Sri Rupa
Gosvami. Sri Svarupa Damodara Gosvami,
Rupa Gosvami, and Sanatana Gosvami were
the givers of great happiness to Visvambhara
[Sri Caitanya].
(7) The great souls Jiva Gosvami and
Raghunatha dasa Gosvami became very dear
to Rupa Gosvami. Jiva Gosvami was a disciple
of Rupa Gosvami, and Raghunatha dasa
Gosvami, a disciple of Advaita Acarya’s
disciple Yadunandana Acarya, was accepted
by Rupa and Sanatana as their third brother.
Raghunatha dasa Gosvami’s beloved student
was Krsnadasa Kaviraja Gosvami. Krsnadasa
Kaviraja was an intimate friend of Lokanatha
Gosvami. They lived together in Vrndavana
and always discussed the topics of Krsna with
one another. Lokanatha Gosvami, a disciple
of Gadadhara Pandita, had only one disciple,
whose name was Narottama dasa. Narottama
dasa was always engaged in the service of his
guru, and he also engaged himself in the
service of his guru’s intimate friend. Thus he
became very dear to Krsnadasa Kaviraja
Gosvami. To serve the feet of Narottama dasa
Thakura was the only desire of Visvanatha
Cakravarti Thakura, who was the fourth acarya
in disciplic sucession from Narottama dasa.
(8) Visvanatha Cakravarti Thakura was the
siksa-guru [instructing spiritual master] of
Baladeva Vidyabhusana, to whom he taught
the precepts of Srimad-Bhagavatam.
Jagannatha dasa Babaji was a very prominent
acarya after Sri Baladeva Vidyabhusana and
was the beloved siksa-guru of Sri Bhaktivinoda
Thakura. Bhaktivinoda Thakura’s intimate
friend and associate was the eminent maha-
bhagavata Sri Gaurakisora dasa Babaji, whose
sole joy was found in hari-bhajana.
(9) These great saintly Vaisnavas are all
paramahamsas, or devotees of the highest
order, and they are all part of Lord Gauranga’s
own spiritual family. Their holy feet arc my
refuge. I have no real interest in devotional
service, and I am a poor and lowly tridandi
sannydsi named Sri Bhaktisiddhanta Sarasvati.
* Because this song has been composed by Sri
Bhaktisiddhanta Sarasvati Thakura, he has
placed his name at the end of the song, as is
customarily done by Vaisnava poets. In order
to glorify Sri Bhaktisiddhanta Sarasvati
Thakura and his beloved disciple A.C.
Bhaktivedanta Swami Prabhupada as spiritual
teachers in the preceptorial succession from
Sri Caitanyadeva, the following verse has been
added and may be optionally sung instead of
the songs ninth verse.
(9)
sri-varsabhanavi-bara, sada sevya-seva-para,
tahdra dayita-dasa-nama
tdra pradhdn pracarako, sri-bhaktivedanta ndmo,
patita-janete doyd-dhdma
The renowned Sri Varsabhanavi-dayita dasa
[the initiated name of Bhaktisiddhanta
Sarasvati] is always engaged in the service of
his spiritual master, Srila Gaurakisora dasa
Babaji. His foremost disciple-preacher is Sri
A. C. Bhaktivedanta Swami Prabhupada, who
has spread the message of Lord Caitanya
throughout the world and is thus a reservoir
of mercy and compassion for all fallen souls.
SRI SRI GURV-ASTAKA
• •
by Srila Visvanatha Cakravarti Thakura
Dm
Dm
Lento Lead and Response
erse 1 F tintro.) C7
na - la - lid - ha - lo - ka
sam - sa - ra - da
Bb
C
F
Dm
±
tra - na - ya ka - run - ya
tvam
ghan-ag - ha - na
prap-tas - ya kal - ya - na _
gun - ar - na
vas - ya
irse 2 F
Dm
c
Bb
van - de gu
Dm
ma-hap-ra - bhoh kir - ta-na-nrt-ya - gi - ta
Dm
ro-manca - kam - pa
sru-ta - rah-ga - bha - jo
roh sri
Bb
Bb
rse 3 F
Dm
Dm
sri-vig ra - ha - rad - ha-na-nit ya - na - na
c
F
ca - ra - na - ra
vin - dam
C
va - di - tra - mad - yan - ma-na-so ra
C
F
J’
van-de gu - roh sri - ca - ra - na - ra - vin - dam
Bb
C
dau
srri-ga ra - tan - man - di - ra - maijan - a
Dm
Bb
C
F
J) J) JM J
van-de gu - roh
C
Dm
Dm
yuk-tas-ya bhak-tarns ca ni-yuh-ja - to ’pi
,ca - tur-vid - ha - sri - bha ga - vat pra - sa - da
Bb
ca - ra - na - ra - vin - dam
sva-dvan-na - trp - tan ha-ri-bhakta - sari - ghan
Dm
Bb
F
krt-vai-va trp - tirh bha-ja - tah sa - dai - va
ЧмЯ J_ Ш-М1;
van-de gu - roh sri - ca-ra-na-ra - vin - dam
The next 4 verses all follow the same pattern.
(for text see page 21)
SRI RUPA MANJARI PADA
(from Prarthana)
by Srila Narottama dasa Thakura
(1)
sri-rupa-manjari-pada, sei mora sampada,
sei mor bhajana-pujana
sei mora prdna-dhana, sei mora dbharana,
sei mor jivanera jivana
(2)
sei mora rasa-nidhi, sei mora varicha-siddhi,
sei mor vedera dharama
sei brata, sei tapa, sei mora mantra-japa,
sei mor dharama-karama
(3)
anukula habe vidhi, se-pade hoibe siddhi,
nirakhibo e dui nayane
se riipa-mddhuri-rasi, prdna-kuvalaya-sast,
praphullita habe nisi-dine
(4)
tuwa adarsana-ahi, garale jaralo deht,
ciro-dina tapita jivana
ha ha гйра кого doya, deho more pada-chaya,
narottama loilo sarana
(1) The feet of Sri Rupa Manjari [Rupa
Gosvami’s eternal form as a gopl of Vraja]
are my real wealth. They are the object of my
bhajana and piija. They are the treasure of
my heart, and they are my ornaments and the
life of my life.
(2) They are the reservoirs of all rasa for me
and the fulfillment of all my desires. They are
the conclusion of the religion of the Vedas for
me and are the goal of all my vows, austerities,
and the chanting of my mantra. They are the
purpose of all my religious activities.
(3) By the power of those feet my activities
will become favorable to devotion, spiritual
perfection will be achieved, and with these
two eyes I will be able to actually see. The
exquisite beauty of Sri Rupa Manjari’s divine
feet will shine like the brilliant moon upon
the lotus of my heart both day and night, thus
giving relief to my afflicted soul.
(4) By the venom of the snake of separation
from you, my soul has wasted away and my
life is ever afflicted and distressed. О Rupa
Manjari, please be merciful and give me the
shade of your lotus feet. Narottama dasa has
taken refuge.
SRI SRI SAD-GOSVAMY-ASTAKA
• • • •
by Srinivasa Acarya
Moderate Lead and Response Verse 1
krs - not - kir - ta - na - ga - nar - ta - na- pa -
Em C Am Em Am
- ran pre - mam - r - tarn - bho - ni - dhi dhi - ra - dhi - ra - ja - na - pri-yau.
Em C Am Em G C
_pri-ya-ka - ran nir - mat - sa - ran_________ pu - ji - tau sri - cai - tan - ya-kr-
G Em C D Em
-pa - bha-rau - bhu-vi bhu - vo bha - ra - va-han__________ ta - ra - kau van - de
Am Em C Am Em
ru - pa-sa - na - tan au____ ra-ghu-yu - gau - sri - ji - va-go - pa - la - kau
Verse 2 Em Am Em C Am
na - na - sas - tra-vi - ca - ra - nai - ka-ni-pu - nau sad - dhar-ma - sams - tha - pa-
Em Am Em
- kau lo - ka - nam hi - ta - kar - in - au__________ tri - bhu va - ne man -
C Am Em G C G Em
- yau sa - ran - ya - ka - rau rad - ha - krs - na - pa - da - ra vin____________ da - bha-jan -
C D Em Em
an an - de na - mat - ta - li - kau van - de ru - pa - sa -
Am Em Am Em
- na - ta - nau - ra - ghu yu - gau sri - ji - va-go - pa____________ la - kau
The next 6 verses all follow the same pattern with minor alterations in the time values of notes to fit the words.
SRI SRl SAD-GOSVAMY-ASTAKA
(i)
kmotkirtana-gana-nartana-parau premamrtambho-nidhi
dhirddhira-jana-priyau priya-karau nirmatsarau pUjitau
n-caitanya-krpd-bharau bhuvi bhuvo bhdrdvahantdrakau
vande riipa-sandtanau raghu-yugau sri-jiva-gopdlakau
Й
md-sdstra-vicaranaika-nipunau sad-dharma-samsthdpakau
lokdndm hita-kdrinau tri-bhuvane mdnyau saranydkarau
idhd-krsna-paddravinda-bhajandnandena mattdlikau
vande riipa-sandtanau raghu-yugau sri-jiva-gopdlakau
>)
n-gaurdnga-gunanuvarnana-vidhau sraddhd-samrddhy-anvitau
papottdpa-nikrntanau tanu-bhrtdm govinda-gdndmrtaih
wmddmbudhi-vardhanaika-nipunau kaivalya-nistdrakau
I vande riipa sandtanau raghu-yugau sri-jiva-gopdlakau
|
tyafctvd Штат asesa-mandala-pati-srenirh sada tuccha-vat
I bhUtvd dina-ganesakau karunayd kaupina-kanthdsritau
api-bhava-rasdmrtdbdhi-lahari-kallola-magnau muhur
vande rupa-sandtanau raghu-yugau sri-jiva-gopdlakau
•)
fo'pt-kokila-hamsa-sarasa-ganakirne mayurdkule
nand-ratna-nibaddha-mUla-vitapa-sri-yukta-vrnddvane
Uhd-krsnam ahar-nisarii prabhajatau jivdrthadau yau muda
•vande rupa-sandtanau raghu-yugau sri-jiva-gopalakau
'Ahyd-pdrvaka-ndma-gdna-natibhih kdldvasdni-krtau
nidrdhara-vihdrakadi-vijitau catyanta-dinau ca yau
iha-krsna-guna-smrter madhurimdnandena sammohitau
vande rupa-sandtanau raghu-yugau sri-jiva-gopalakau
iha-kunda-tate kalinda-tanayd-tire ca vamsivate
pemonmdda-vasdd asesa-dasayd grastau pramattau sadd
yantau ca kadd harer guna-varam bhdvdbhibhiitau muda
vande riipa-sandtanau raghu-yugau sri-jiva-gopalakau
fadhe vraja-devike ca lalite he nanda-sii.no kutah
id-ppvardhana-kalpa-pddapa-tale kdlindi-vane kutah
osantdv iti sarvato vraja-pure khedair mahd-vihvalau
vande riipa-sandtanau raghu-yugau sri-jiva-gopdlakau
11 offer my respectful obeisances unto the six Gosvamis,
lely Sri Rupa Gosvami, Sri Sanatana Gosvami, Sri
ihunatha Bhatta Gosvami, Sri Raghunatha dasa
ivami, Sri Jiva Gosvami, and Sri Gopala Bhatta
ivami, who are always engaged in chanting the holy
me of Krsna and dancing. They arc just like the ocean of
leofGod, and they are popular both with the gentle and
h the ruffians, because they arc not envious of anyone,
latever they do, they are all-pleasing to everyone, and
у are fully blessed by Lord Caitanya. Thus they are
gaged in missionary activities meant to deliver all the
ditioned souls in the material universe.
1 offer my respectful obeisances unto the six Gosvamis,
Bely Sri Rupa Gosvami, Sri Sanatana Gosvami, Sri
Raghunatha Bhatta Gosvami, Sri Raghunatha dasa
Gosvami, Sri Jiva Gosvami, and Sri Gopala Bhatta
Gosvami, who are very expert in scrutinizingly studying
all the revealed scriptures with the aim of establishing
eternal religious principles for the benefit of all human
beings. Thus they are honored all over the three worlds,
and they are worth taking shelter of because they are
absorbed in the mood of the gopis and are engaged in the
transcendental loving service of Radha and Krsna.
(3) I offer my respectful obeisances unto the six Gosvamis,
namely Sri Rupa Gosvami, Sri Sanatana Gosvami, Sri
Raghunatha Bhatta Gosvami, Sri Raghunatha dasa
Gosvami, Sri Jiva Gosvami, and Sri Gopala Bhatta
Gosvami, who are very much enriched in understanding
of Lord Caitanya and who are thus expert in narrating His
transcendental qualities. They can purify all conditioned
souls from the reactions of their sinful activities by pouring
upon them transcendental songs about Govinda. As such,
they are very expert in increasing the limits of the ocean of
transcendental bliss, and they are the saviours of the living
entities from the devouring mouth of liberation.
(4) I offer my respectful obeisances unto the six Gosvamis,
namely Sri Rupa Gosvami, Sri Sanatana Gosvami, Sri
Raghunatha Bhatta Gosvami, Sri Raghunatha dasa
Gosvami, Sri Jiva Gosvami, and Sri Gopala Bhatta
Gosvami, who kicked off all association of aristocracy as
insignificant. In order to deliver the poor conditioned souls,
they accepted loincloths, treating themselves as mendicants,
but they are always merged in the ecstatic ocean of the
gopis' love for Krsna and bathe always and repeatedly in
the waves of that ocean.
(5) I offer my respectful obeisances unto the six Gosvamis,
namely Sri Rupa Gosvami, Sri Sanatana Gosvami, Sri
Raghunatha Bhatta Gosvami, Sri Raghunatha dasa
Gosvami, Sri Jiva Gosvami, and Sri Gopala Bhatta
Gosvami, who were always engaged in worshiping Radha-
Krsna in the transcendental land of Vrndavana, where there
are beautiful trees full of fruits and flowers which have
under their roots all valuable jewels. The Gosvamis are
perfectly competent to bestow upon the living entities the
greatest boon of the goal of life.
(6) I offer my respectful obeisances unto the six Gosvamis,
namely Sri Rupa Gosvami, Sri Sanatana Gosvami, Sri
Raghunatha Bhatta Gosvami, Sri Raghunatha dasa
Gosvami, Sri Jiva Gosvami, and Sri Gopala Bhatta
Gosvami, who were engaged in chanting the holy names of
the Lord and bowing down in a scheduled measurement. In
this way they utilized their valuable lives, and in executing
these devotional activities they conquered over eating and
sleeping and were always meek and humble, enchanted by
remembering the transcendental qualities of the Lord.
(7) I offer my respectful obeisances unto the six Gosvamis,
namely Sri Rupa Gosvami, Sri Sanatana Gosvami, Sri
Raghunatha Bhatta Gosvami, Sri Raghunatha dasa
Gosvami, Sri Jiva Gosvami, and Sri Gopala Bhatta
Gosvami, who were sometimes on the bank of the Radha-
kunda lake or the shores of the Yamuna and sometimes
at Vamsivata. There they appeared just like madmen in
the full ecstasy of love for Krsna, exhibiting different
transcendental symptoms in their bodies, and they were
merged in the ecstasy of Krsna consciousness.
(8) I offer my respectful obeisances unto the six Gosvamis,
namely Sri Rupa Gosvami, Sri Sanatana Gosvami, Sri
Raghunatha Bhatta Gosvami, Sri Raghunatha dasa
Gosvami, Sri Jiva Gosvami, and Sri Gopala Bhatta
Gosvami, who were chanting very loudly everywhere in
Vrndavana, shouting, “Queen of Vrndavana, Radharani! О
Lalita! О son of Nanda Maharaja! Where are you all now?
Are you just on the hill of Govardhana, or are you under
the trees on the bank of the Yamuna? Where are you?”
These were their moods in executing Krsna consciousness.
SRI NAMA-SANKIRTANA
by Srila Narottama dasa Thakura
ative melody
Allegretto Lead
nd Response v _
el C1 FC
ha - ri ha-raye na - mah krs - na ya - da-va - ya na - ma - h
| 1st time || 2nd time
a - da - va - ya mad - ha - va - ya ke - sa - va - ya na - ma - h ha - na - ma - h
e2
go-pa-la go - vin-da ra - ma sri - ma dhu-su - dan(a) gi - ri dha-ri go-pin-ath(a) ma-da-na - mo han(a)
se3
C FC Dm Dm G C
hM Ji | Jt МЛ Ji M | J J | v | j' _h _b | j' _h j j 1
j sri-cai-tan-ya - nit-ya-nan-da sri-ad-vai-ta - si - ta ha-ri gu-ru vais - na-ba bha-ga-va-ta gi - ta
se4
sri-ru-pa sa - na - ta-na - bhat - ta ra - ghu - nath sri - ji - va go - pa la-bhat-ta da-sa-ra ghu - nath.
«5
C G7 C Dm G7 C
ei chay_ go - sair ко - ri ca - ra - na-van - dan ja - ha hoi-te bigh-na - nas ab-his-ta-pu - ran
e6
C F C Dm G7 C
ei chay _ go - sai jar - mui--------- tar das ta • sa-ba - ra pa - da - re - nu mo-ra pan-ca - gras
(a) not pronounced
be7
ta de-ra ca - ra - na - se - bi - bhakta - sa - ne bas ja-na-me-ja - na me hoy ei - ab - hi - las
Verse 8
C F C Dm C
ei chay _ go - sai ja - be bra-je koi - la bas rad - ha - krs-na - nit-ya-li - la - ко-ri - la pra - kas
Verse 9
C F C Dm C
a - nan - de bo-lo ha-ri bha - ja brn - da - ban sri - gu - ru-vais - na - ba - pa - de ma-ja - i - ya - man
Verse 10
C F C F C G C
sri - guru - vais - na - ba-pade - padma ко-ri as - na - ma - san kir - ta - na ко-he na-rot-ta-ma das
(1)
hari haraye namah krsna yadavaya namah
yddavdya mddhavdya kesavaya namah
(2)
gopala govinda rama sri-madhusudana
giridhdrl gopinatha madana-mohana
(3)
sri-caitanya-nityananda sn-adwaita-sita
hari guru vaisnaba bhdgavata gltd
(4)
sri-rupa sanatana bhatta raghunath
srl-jiva gopala-bhatta dasa-raghundth
(5)
ei chay gosair kori carana vandan
jdhd hoite bighna-nds abhista-piiran
(6)
ei chay gosai jar - mui tar das
td-sabdra pada-renu mora panca-grds
(7)
tddera carana-sebi-bhakta-sane bas
janame janame hoy ei abhilds
(8)
ei chay gosai jabe braje koila bas
radhd-krsna-nitya-lild korild prakas
(9)
anande bolo hari bhaja brndaban
srl-guru-vaisnaba-pade majdiya man
(10)
sri-guru-vaisnaba-pada-padma kori as
ndma-sankirtana kohe narottama das
(1) О Lord Hari, О Lord Krsna, I offer my
obeisances to You, who are known as Yadava,
Hari, Madhava, and Kesava.
(2) О Gopala, Govinda, Rama, Sri Madhu-
sudana, Giridhari, Gopinatha, Madana-mohana!
(3) All glories to Sri Caitanya and Nityananda.
All glories to Sri Advaita Acarya and His
consort, Sri Sita Thakurani. All glories to Lord
Hari, the spiritual master, the Vaisnavas,
Srimad-Bhagavatam, and Srimad Bhagavad-
gita.
(4) All glories to Sri Rupa Gosvami, Sanatana
Gosvami, Raghunatha Bhatta Gosvami, Sri
Jiva Gosvami, Gopala Bhatta Gosvami, and
Raghunatha dasa Gosvami.
(5) Г offer my obeisances to the feet of these
six Gosvamis. By offering them my obeisances
all obstacles to devotion are destroyed and all
spiritual desires are fulfilled.
(6) I am the servant of that person who is a
servant of these six Gosvamis. The dust of their
holy feet is my five kinds of foodstuffs.
(7) This is my desire, that birth after birth I
may live with those devotees who serve the
lotus feet of these six Gosvamis.
(8) When these six Gosvamis lived in Vraja
they revealed and explained the eternal
pastimes of Radha and Krsna.
(9) Absorbing your mind in meditation upon
the divine feet of the spiritual master and the
holy Vaisnavas, chant the names of Lord Hari
in ecstasy, and worship the transcendental
realm of Vrndavana.
(10) Desiring the lotus feet of Sri Guru and the
Vaisnavas, Narottama dasa sings the sankirtana
of the holy name.
ARUNODAYA-KIRTANA (PART ONE)
(from Gitavali)
by Srila Bhaktivinoda Thakura
Andante Lead and Response
C G Am D Em Am D G
ja - ge,----- bhaka-ta - sa - mu ha loi - ya sa-the,____________ ge - la na - ga-ra - bra - je
e2 G Em G D G
’ta thai ta thai’ ba-jo-lo khol, gha-na gha - na ta - he jha - je - ra rol,_________
C D Em Am D G
_ pre-me dha - la dha-la_______ so - na - ra an - ga, ca - ra - ne nu - pu - ra ba - je
53 D G C D C G
Ji J) Ji.| J -jy jd J^ jvjdj' j I 01 J -b jJ M
mu-kun-da ma - dha-va_ ya-da-va ha - ri, bo-lc-na bo - lo re____ va-da-na bho - ri’,
Am D Em Am D G
_ mi-che ni - da - ba se ge - lo re_________ rati, di - va - sa sa - ri - ra sa - je
s4 G Em G D G
e - ma-na dur - la - bha ma - na-va - de - ho, pai - ya ki _ ko-ro,_____________ bha-va na ke - ho,
Em C D Em Am D G
e - be na bha-ji___________ le ya - so - da - su - ta,____________ ca - ra - me po - ri - be - la - je
The remaining 4 verses all follow the same pattern with slight variations in the time
values of the notes in order to fit the rhythm of the Bengali words.
1 Д1
(1)
udilo aruna puraba-bhage,
dwija-mani gora amani jage,
bhakata-samuha loiya sathe,
geld nagara-brdje
(2)
‘tathai tdthai ’ bdjalo khol,
ghana ghana tahe jhajera rol,
preme dhala dhala sonara anga,
carane nupura bdje
(3)
mukunda madhava yadava hari,
bolena bolo re vadana bhori’,
miche nida-base gelo re rati,
divasa sarira sdje
(4)
emana durlabha manava-deho,
pdiyd ki кого bhdva nd keho,
ebe nd bhajile yasodd-suta,
carame poribe laje
(5)
udita tapana hoile asta,
dina gelo boli’ hoibe byasta,
tabe keno ebe alasa hoy,
nd bhaja hrdoya raje
(6)
jivana anitya janaha sar,
tahe nand-vidha vipada bhdr,
namasraya kori’ jatane tumi,
thdkaha dpana kdje
(7)
jivera kalyana-sddhana-kam,
jagate dsi’ e madhura nam,
avidyd-timira-tapana-riipe,
hrd-gagane birdje
(8)
krsna-nama-sudhd koriya pan,
jurdo bhakativinoda-prdn,
ndma bind kichu ndhiko dro,
caudda-bhuvana-mdjhe
part one
(1) When the eastern horizon became tinged
with the redness that heralds the rising of the
sun, the jewel among the brdhmanas, Lord
Gaurasundara, immediately awakened. Taking
His devotees with Him, He journeyed through
the towns and villages of Nadia.
(2) The mrdangas resounded “tdthai, tathai,'’'
and the jhajas [large metal karatdlas that look
like small cymbals] in that klrtana played in
time. Lord Gaurahga’s golden form slightly
trembled in ecstatic love of Godhead, and His
footbells jingled.
(3) Lord Caitanya called out to the townsfolk,
“You spend your nights uselessly sleeping and
your days decorating your bodies! Now just fill
your mouths with the holy names, ‘‘Mukunda!”,
“Madhava!”, “Yadava!” and “Hari!” chanting
without offense.
(4) “You have achieved this rare human body.
Don’t you care for this gift? If you do not
worship the darling of mother Yasoda now,
then great sorrow awaits you at the time of
your death.
(5) “With every rising and setting of the sun, a
day passes and is lost. Why then do you remain
idle and not serve the Lord of the heart?
(6) “You should understand this essential fact:
life is temporary and filled with various kinds
of miseries. Therefore carefully take shelter
of the holy name and remain always engaged
in His service as your eternal occupation.
(7) “Desiring to bless all living entities, this
sweet name of Krsna has descended to this
material universe and shines like the sun in
the sky of the heart, destroying the darkness
of ignorance.”
(8) Drink the pure nectar of the holy name
of Krsna and thus satisfy the soul of Thakura
Bhaktivinoda. There is nothing except the holy
name within all the fourteen worlds.
ARUNODAYA-KIRTANA (PART TWO)
(from Gitavali)
by Srila Bhaktivinoda Thakura
Lead and response
bha-ka - ti - vi - no - da - pra - bhu - ca - ra - ne pa - ri
sei ha ri - nam(a) - man - tra lo - i - lo ma - gi - ya
ya
extend if desiredr-
repeat as desired
a - ma
Ha-re Ra - ma
Ra-ma Ra - ma Ha-re Ha - re
Ha - re Ha - re
part two
(1)
jiv jago, jiv jago, gauracanda bole
kota nidrd jdo mdyd-pisdcira kole
(2)
bhajibo boliyd ese samsara.-bhitare
bhuliyd rohile tumi avidydra bhare
(3)
tomare loite ami hoinu avatara
ami bind bandhu dra ke ache tomara
(4)
enechi ausadhi may a nas ib dr о lagi’
hari-ndma mahd-mantra lao tumi magi’
(5)
bhakativinoda prabhu-carane pariya
sei hari-ndma-mantra loilo mdgiya
(1) Lord Gauraiiga calls, “Wake up, sleeping
souls! Wake up, sleeping souls! You have slept
so long in the lap of the witch Maya.
(2) “You came into this world saying, ‘O my
Lord, I will certainly worship You,’ but having
forgotten this promise, you have remained in
great ignorance.
(3) “I have descended just to save you. Other
than Myself, who else is your friend?
(4) “I have brought the medicine for destroying
the illusion of Maya. Now pray for this hari-
ndma mahd-mantra and take it.”
(5) Thakura Bhaktivinoda fell at the lotus feet
of Lord Gauraiiga, and after begging for the
holy name he received that mahd-mantra.
SAPARSADA BHAGAVAD VIRAHA-JANITA VILAPO
by Srila Narottama dasa Thakura
Lento
Verse 1 Lead and response
SAPARSADA-BHAGAVAD-YIRAHA-JANITA VILAPO
I 1st time l| 2nd time Dal Segno cz.
, , L Lt Em у, Em Am c Em D %
У-p I 1 ? JyjJ11J IJ JJJ 7 p;ll J IJ -JJJ
gun-e ra nidhi ko-tha ge - le_ pa - bo gau - bo se - sa
The fifth verse follows the same pattern. Return to the first verse to finish.
etc.
(1)
je dnilo prema-dhana koruna pracur
heno prabhu kothd geld dcdrya-thdkur
V)
kdha mora swarup rupa kdha sanatan
kdhd dasa raghunatha patita-pavan
kaha mora bhatta-juga kdha kaviraj
eka-kdle kothd geld gord nata-rdj
(4)
pasdne kutibo matha anale pasibo
gaurdnga gunera nidhi kothd gele pdbo
(5)
se-saba sangtra sange je koilo bilas
se sahga nd paiya kdnde narottama das
(1) He who brought the treasure of divine love
and who was filled with compassion and
- where has such a personality as Srinivasa
Acarya gone?
(2) Where are my Svarupa Damodara and
Rupa Gosvami? Where is Sanatana? Where
is Raghunatha dasa, the savior of the fallen?
(3) Where are my Raghunatha Bhatta and
Gopala Bhatta, and where is Krsnadasa
Kaviraja? Where did Lord Gaurariga, the great
dancer, suddenly go?
(4) I will smash my head against the rock and
enter into the fire. Where will I find Lord Gau-
rariga, the reservoir of all wonderful qualities?
(5) Being unable to obtain the association of
Lord Gaurariga accompanied by all of these
devotees in whose association He performed
His pastimes, Narottama dasa simply weeps.
ns
SRI DAMODARASTAKA
• •
(This bhajan is sung morning and evening during the month of Kartika)
Andantino
Verse 1 Lead and Response
na - mam - is - va -
*/erse 2
ru - dan - tarn mu - hur ne - tra - yug-marh - mr - jan - tarn ka - ram - bho-ja -
yug - me - na sa - tan - ka - ne - tram mu - huh - sva - sa - kam - pa - tri
Gm Bb Gm A Dm
- re - khan-ka - kan - tha - sthi-ta - grai-vam da - mo - da - ram bhakti - bad - dham
The next six verses follow the same pattern. It can be extended by singing the Maha-mantra thus:-
/erse 3
Dm Gm Dm Gm Dm
Ha - re_____ Krs - na Ha - re______________________________ Krs - na Krs - na_____ Krs
na Ha - re_________________ Ha - re Ha - re Ra - ma
Gm Bb Gm A Dm
Ha - re___ Ra - ma Ra - ma__ Ra - ma Ha - re___________________ Ha - re
“In the month of Kartika one should worship Lord Damodara and daily recite the prayer known
as Damodarastaka, which has been spoken by the sage Satyavrata and which attracts Lord
Damodara.” (Sri Hari-bhakti-vildsa 2.16.198)
(1)
namdmisvaram sac-cid-ananda-rupam
lasat-kundalam gokule bhrdjamdnam
yasodd-bhiyolukhaldd dhdvamdnam
pardmrstam atyantato drutya gopyd
(2)
rudantam muhur netra-yugmam mrjantam
kardmbhoja-yugmena sdtarika-netram
muhuh svdsa-kampa-trirekhahka-kantha-
sthita-graivam ddmodaram bhakti-baddham
itldrk sva-lddbhir dnanda-kunde
sva-ghosam nimajjantam dkhydpayantam
tadiyesita-jnesu bhaktair jitatvam
punah prematas tarn satavrtti vande
(4)
varam deva moksam na moksavadhim va
na canyam vrne 'ham varesad apiha
idam te vapur ndtha gopala bdlam
sadd me manasy dvirdstam kim anyaih
(5)
idam te mukhambhojam atyanta-nilair
vrtam kuntalaih snigdha-raktais ca gopyd
muhus cumbitam bimba-raktddharam me
manasy dvirdstam alam laksa-labhaih
(6)
namo deva damodarananta visno
prasida prabho duhkha-jdldbdhi-magnam
krpd-drsti-vrstyati-dinam batdnu-
grhdnesa mam ajham edhy aksi-drsyah
(7)
kuveratmajau baddha-murtyaiva yadvat
tvayd mocitau bhakti-bhajau krtau ca
tathd prema-bhaktim svakdm me prayaccha
na mokse graho me ’sti ddmodareha
(8)
namas te ’stu damne sphurad-dipti-dhamne
tvadiyodaraydtha visvasya dhamne
namo rddhikdyai tvadiya-priydyai
namo 'nanta-lildya devdya tubhyam
(1) To the Supreme Lord, whose form is the
embodiment of eternal existence, knowledge,
and bliss, whose shark-shaped earrings arc
swinging to and fro, who is beautifully shining
in the divine realm of Gokula, who [due to
the offense of breaking the pot of yogurt that
His mother was churning into butter and then
stealing the butter that was kept hanging from
a swing] is quickly running from the wooden
grinding mortar in fear of mother Yasoda, but
who has been caught from behind by her who
ran after Him with greater speed — to that
Supreme Lord, Sri Damodara, I offer my
humble obeisances.
(2) [Seeing the whipping stick in His mother’s
hand,] He is crying and rubbing His eyes again
and again with His two lotus hands. His eyes
are filled with fear, and the necklace of pearls
around His neck, which is marked with three
lines like a conchshell, is shaking because of
His quick breathing due to crying. To this
Supreme Lord, Sri Damodara, whose belly is
bound not with ropes but with His mother’s
pure love, I offer my humble obeisances.
(3) By such childhood pastimes as this He is
drowning the inhabitants of Gokula in pools of
ecstasy, and is revealing to those devotees who
are absorbed in knowledge of His supreme
majesty and opulence that He is only
conquered by devotees whose pure love is
imbued with intimacy and is free from all
conceptions of awe and reverence. With great
love I again offer my obeisances to Lord
Damodara hundreds and hundreds of times.
(4) О Lord, although You are able to give all
kinds of benedictions, I do not pray to You for
the boon of impersonal liberation, nor the
highest liberation of eternal life in Vaikuntha,
nor any other boon [which may be obtained
by executing the nine processes of bhakti],
О Lord, I simply wish that this form of Yours
as Bala Gopala in Vrndavana may ever be
manifest in my heart, for what is the use to
me of any other boon besides this?
(5) О Lord, Your lotus face, which is encircled
by locks of soft black hair tinged with red, is
kissed again and again by mother Yasoda, and
Your lips are reddish like the bimba fruit. May
this beautiful vision of Your lotus face be ever
manifest in my heart. Thousands and thousands
of other benedictions are of no use to me.
(6) О Supreme Godhead, I offer my obeisances
unto You. О Damodara! О Ananta! О Visnu!
О master! О my Lord, be pleased upon me.
By showering your glance of mercy upon me,
deliver this poor ignorant fool who is immersed
in an ocean of worldly sorrows, and become
visible to my eyes.
(7) О Lord Damodara, just as the two sons of
Kuvera — Manigriva and Nalakuvara —
were delivered from the curse of Narada and
made into great devotees by You in Your form
as a baby tied with rope to a wooden grinding
mortar, in the same way, please give to me
Your own prema-bhakti. I only long for this
and have no desire for any kind of liberation.
(8) О Lord Damodara, I first of all offer my
obeisances to the brilliantly effulgent rope
which binds Your belly. I then offer my
obeisances to Your belly, which is the abode
of the entire universe. I humbly bow down to
Your most beloved Srimati Radharam, and I
offer all obeisances to You, the Supreme Lord,
who displays unlimited pastimes.
Cm Fm Bl? Cm Fm
ta - la - ma-la__ ka - ma-la - da - la - ja - la,_ ji - va - na ta - la - ma la,__ bha ja - hu ha - ri - pa da
Cm Fm Cm Verse 4
ni - ti - re bha-ja - hu ha - ri - pa - da ni - ti re sra - va - na,
11st time
Cm Fm Cm
kir - ta - na, sma ra - na, van - da na,__________ pa - da - se - va - na,_______ das ya re sra-va - na
I 2nd time
Cm Fm Bl? - Cm Fm
те pu-ja - na, sa - khi-ja na,______________________ at - ma-ni - ve - da na_____________ pu-ja - na, sa - khi-ja - na,
Fm Cm Verse 1 for finish Cm Fm
Ji Л J'.Ml. J J> I J, |J JJ,
da - sa - a bhi - la - sa - re bha-ja - hu - re ma - na_____ sri - nan - da - nan - da - na -
| 1st time || 2nd time
> ______________________________________ Cm ' Cm ____________________
F'U1 1' 1' J Ij, Mlj lyp p p
ab - ha - ya - ca - ra - na - ra - vin - da re bha ja - hu re dur-la - bha
| 1st time 11 2nd time
Fm Bl? Cm Cm Fm
man - a - va_____ ja - na - ma sat - sah-ge - dur la - bha sat - sah-ge____________ ta - ro - ho e bha-va
BHAJAHU RE MANA SRI NANDA-NANDANA
(1)
bhajahii re mana sri-nanda-nandana-
abhaya-carandravinda re
durlabha mdnava-janama sat-sahge
taroho e bhava-sindhu re
(2)
sita dtapa bdta barisana
e dina jdmini jdgi re
biphale sevinu krpana durajana
capala sukha-laba Idgi’re
(3)
e dhana, yaubana, putra, parijana
ithe ki ache paratiti re
kamala-dala-jala, jivana talamala
bhajahii hari-pada riiti re
(4)
sravana, kirtana, smarana, vandana,
pdda-sevana, dasya re
piijana, sakhi-jana, dtma-nivedana
govinda-dasa-abhilasa re
(1) О mind, just worship the lotus feet of the
son of Nanda, which make one fearless. Having
obtained this rare human birth, cross over this
ocean of worldly existence through the
association of saintly persons.
(2) Both in the day and at night I remain
sleepless, suffering the pains of the heat and
cold, the wind and the rain. For a fraction of
flickering happiness I have uselessly served
wicked and miserly men.
(3) What assurance of real happiness is there
in all of one’s wealth, youthfulness, sons, and
family members? This life is tottering like a
drop of water on a lotus petal; therefore you
should always serve and worship the divine feet
of Lord Hari.
(4) It is the desire and great longing of Govinda
dasa to engage himself in the nine processes of
bhakti, namely hearing the glories of Lord Hari
and chanting those glories, constantly remembe-
ring Him and offering prayers to Him, serving
the Lord’s lotus feet, serving the Supreme Lord
as a servant, worshiping Him with flowers and
incense and so forth, serving Him as a friend,
and completely offering the Lord one’s very self.
SUDDHA-BHAKATA
(from Saranagati)
by Srila Bhaktivinoda Thakura
Allegretto Verse 1 Lead and Response
sud - dha - bha - ka - ta -
Em D C D A
ca - ra - na - re - nu, bha-ja - na - a - nu - - ku la
G Em G Am D E
Г«Т Г Г 'Г Г !r г r~l'J~ ~J lJ-J-J-l>J-J-g
bha - ka - ta - se - va, pa - ra - ma - sid - dhi, pre - ma - la ti - ka - ra
В Verse 2 Em Am Em D
' -I >1- -J -U J- j~ t~f ~t ~J
mu - - la ma - dha - va - ti - thi, bhak - ti - ja - na - ni,
C D A G
ja - ta - ne pa - la - na ко - - ri krs - na - ba - sa - ti,
Am D Em В
ba - sa - ti bo - li’, pa - ra - ma a - da - re bo - - ri
Verse 3 Em Am D Em C D A A
gaur - a - ma - ra, je - sa - ba stha - ne, ко - ra - lo bhra-ma- na ra - h - ge
G Am DEB
se - sa - ba stha - na, he - ri - bo a mi, pra - na - yi - bha - ka - ta - sa h ge
Verse 4 Em Am Em D C D A
mr-daii-ga - bad - ya, su - ni - te ma - na, ab-sa-ra sa - da_______________ ja - - ce
G Am DEB
gau - ra - bi - hi - ta, kir - ta - na su - ni’, a - nan - de hr - do - ya na - - ce
SUDDHA-BHAKATA
(О
suddha-bhakata- carana-renu,
bhajana-anukiila
bhakata-seva parama-siddhi,
prema-latikara mida
(2)
mddhava-tithi, bhakti-janam,
jatane pdlana kori
krsna-basati, basati boli’,
parama adare bori
(3)
gaur amara, je-saba sthane,
koralo bhramana range
se-saba s thana, he rib о ami,
pranayi-bhakata-sange
(4)
mrdanga-badya, sunite mana,
abasara sadd jdce
gaura-bihita, kirtana suni’,
dnande hrdoya пасе
(5)
jugala-murti, dehiya mora,
parama-dnanda hoya
prasdda-sebd korite hoya,
sakala prapahca jaya
(6)
je-dina grhe, bhajana dekhi,
grhete goloka bhaya
carana-sidhu, dekhiyd ganga
sukha sa sima pdya
(7)
tulasi dekhi’, juraya prana,
madhava-tosani jdni’
gaura-priya, sdka-sevane,
jivana sdrthaka mdni
(8)
bhakativ inoda, krsna-bhajane,
anukdla pdya jdha
prati-dibase, parama-sukhe,
swikara koroye tdhd
(1) Dust from the lotus feet of pure devotees is
conducive to devotional service, while service
to the Vaisnavas is itself the supreme perfection
and the root of the tender creeper of divine love.
(2) I observe with great care the holy days like
Ekadasi and Janmastami, for they are the mother
of devotion. As my dwelling place I choose with
the greatest of reverence and love the
transcendental abode of Sri Krsna.
(3) All those places where my Lord Gaurasun-
dara traveled for pastimes I will visit in the
company of loving devotees.
(4) My mind always begs for the opportunity to
hear the music of the mrdanga. Upon hearing the
kind of kirtana ordained by Lord Gauracandra,
my heart dances in ecstasy.
(5) By beholding the Deity forms of the divine
couple, Sri Sri Radha-Krsna, I feel the greatest
joy. By honoring the Lord’s prasdda I conquer
over all worldly illusions.
(6) Goloka Vrndavana appears in my home
whenever I see the worship and service of Lord
Hari going on there. Upon seeing the Ganges,
which is a river of nectar emanating from the
lotus feet of the Lord, my happiness knows no
bounds.
(7) The sight of the holy tulasi tree soothes my
soul, for I know she gives pleasure to Lord
Krsna. By honoring sdk [a green leafy vegetable
preparation], a dear favorite of Lord Caitanya,
I consider life worthwhile.
(8) Whatever Bhaktivinoda obtains that is
conducive for the service of Sri Krsna, he
accepts every day with the greatest of joy.
VRAJA-RAJA-SUTASTAKAM
by Srila Bhaktivinoda Thakura
Moderate Verse 1
C Lead and Response C Am C
na - va - ni - ra da - nin - di - ta - kan - ti - dha -
Am C | 1st time all repeats || 2nd time | £m
JyiJ j.a.IIJ jo II7 pp
ram ra - sa - sa - ga - ra - na - ga - ra - bhu - pa - va - ram na va - ram su - bha - van - ki - ma
1 ct timp я11 rAnACifc 9nr1 timp
ca - ru si - khan - da si - khaih su bha - kham bha-ja - krs-na ni - dhim vra-ja - ra - ja - su -
C Am C Am
tarn bha-ja - krs-na ni - dhim vra-ja - ra - ja su - tarn bha-ja - krs-na ni - dhirh vra-ja -
Am C Am C Verse 2
- ra - ja su - tarn bha-ja - krs-na ni - dhim vra-ja - ra - ja su - tarn bhru-vi -
C Am С C
- sari - ki - ta vari - ki - ma sa - kra dha - nurh - mu-kha can - dra vi - nin - di - ta ко - ti vid -
- hum bhru-vi- -hum mr - du - man - da - su - has - ya - su - bhas - ya - yu - tarn mr - du - tarn bha-ja -
Am C Am
krs-na ni - dhim vra-ja - ra - ja - su - tarn bha-ja - krs-na ni - dhirh - vra-ja -
C Am C
ra - ja su - tarn bha-ja - krs-na ni - dhirh vra-ja - ra - ja su - tarn bha-ja -
krs - na ni - dhirh vra - ja - ra - - ja su - tarn su - vi
All the remaining 6 verses follow the same pattern.
(1)
nava-nirada-nindita-kanti-dharam
rasa-sagara-nagara-bhupa-varam
subha-vankima-cdru-sikhanda-sikham
bhaja-krsna-nidhim vrajardja-sutam
(2)
bhru-visahkita-vankima-sakra-dhanum
mukha-candra-vinindita-koti-vidhum
mrdu-manda-suhdsya-subhasya-yutam
bhaja-krsna-nidhim vrajardja-sutam
(3)
suvikampad-ananga-sad-anga-dharam
vrajavdsi-manohara-vesa-karam
bhrsa-ldnchita-nila-saroja-drsarh
bhaja-krsna-nidhim vrajardja-sutam
(4)
alakavali-mandita-bhala-tatam
sruti-dolita-mdkara-kundalakam
kati vestita-pita-patam sudhatam
bhaja-krsna-nidhim vrajardja-sutam
(5)
kala-nupura-rajita-caru-padam
mani-ranjita-ganjita-bhrnga-madam
dhvaja-vajra-jhasdnkita-pdda-yugam
bhaja-krsna-nidhim vrajardja-sutam
(6)
bhrsa-candana-carcita-cdru-tanum
mani-kaustubha-garhita-bhdnu-tanum
vraja-bala-siromani-rdpa-dhrtarh
bhaja-krsna-nidhim vrajardja-sutam
(7)
sura-vrnda-suvandya-mukunda-harirh
sura-ndtha-siromani-sarva-gurum
giridhari-murdri-purdri-param
bhaja-krsna-nidhim vrajardja-sutam
(8)
vrsabhanu suta-vara-keli-param
rasardja-siromani-vesa-dharam
jagad-lsvaram isvaram idya-varam
bhaja-krsna-nidhim vrajardja-sutam
(1) Just worship the black treasure who is the
son of the King of Vraja. He wears a complexion
rivaling the new clouds, and is the reservoir of all
transcendental tastes and the supreme monarch
of romantic heroes. His head is auspiciously
topped with a nice peacock feather placed at a
slant.
(2) Just worship the black treasure who is the
son of the King of Vraja. His arched brows strike
fear in the great bow of Indra. His beautiful face
ridicules millions of moons, adorned as it is by
His mild, relaxed laughter and fine speech.
(3) Just worship the black treasure who is the
son of the King of Vraja. Cupid was deprived of
his body by the anger of Lord Siva, but this
slightly trembling form is now the true body of
Cupid. He arrays Himself in such a manner as
to charm the minds of all the residents of Vraja,
and His sapphire lotus eyes are boldy decorated.
(4) Just worship the black treasure who is the
son of the King of Vraja. The edge of His
forehead is bedecked with the locks of His hair,
while shark-shaped rings dangle from His two
ears. His meticulous yellow garment is bolted
firmly around the waist.
(5) Just worship the black treasure who is the
son of the King of Vraja. Musical anklets shine
on His beautiful feet, which are marked with
the signs of flags, fish, and thunderbolts. He
appears brilliant with jeweled ornaments, and
His spirited behavior mocks the intoxication of
the honey bees.
(6) Just worship the black treasure who is the
son of the King of Vraja. His charming body is
generously smeared with sandalwood paste, and
His Kaustubha gem casts disdain at the globe
of the sun. He has assumed the form of the
crown jewel of the young boys of Vrndavana.
(7) Just worship the black treasure who is the
son of the King of Vraja. He is the Supreme
Lord Hari, Mukunda, most honored by all the
demigods, the crown jewel of the chiefs among
godly rulers and the spiritual master of all
beings. He is the transcendental lifter of
Govardhana, the killer of Mura, and the master
of Tripurari.
(8) Just worship the black treasure who is the
son of the King of Vraja. He is always dedicated
to the excellent pastimes of the daughter of
Maharaja Vrsabhanu, dressing Himself as the
best of enjoyers of transcendental sports. He
is the supreme absolute controller and most
worshipable Lord of the universe.
JAGANNATHASTAKAM
Em Bm Em Em
na - ri___ va - da - na - ka - ma - las - va - da - mad-hu - pah
Bm Em Bm Em
ra - ma - sam-bhu - brah - ma - ma - ra - pa - ti - ga - nes - ar - ci - ta - pa - do
(1)
kaddcit kalindi-tata-vipina-sarigitaka-ravo
muddbhiri-ndri-vadana-kamaldsvdda-madhupah
ramd-sambhu-brahmamara-pati-ganesdrcita-pado
jaganndthah svdmi nayana-patha-gami bhavatu me
(2)
bhuje savye venurn sirasi sikhi-piccharn katitate .
dukidam netrdnte sahacara-katdksarn vidadhate
sadd srimad-vrnddvana-vasati-lild-paricayo
jaganndthah svdmi nay ana-patha-garni bhavatu me
(3)
mahambhodhes-tire kanaka-rucire nila-sikhare
vasan prdsdddntah sahaja-balabhadrena balina
subhadrd-madhya-sthah sakala-sura-sevdvasara-do
jaganndthah svdmi nayana-patha-gami bhavatu me
(4)
krpa-paravarah sajala-jalada-sreni-ruciro
ramd-vdni-rdmah sphurad-amala-pankeruha-mukhah
surendrair-dradhyah sruti-gana-sikhd-gita-carito
jaganndthah svdmi nayana-patha-gami bhavatu me
(5)
ratharudho gacchan pathi milita-bhudeva-patalaih
stuti-prddurbhdvam pratipadam-updkarnya sadayah
dayd-sindhur bandhuh sakala-jagatam sindhu-sadayo
jaganndthah svdmi nayana-patha-gami bhavatu me
(6)
para-brahmapidah kuvalaya-dalotphulla-nayano
nivdsi nilddrau nihita-carano ’nanta-sirasi
rasdnandi radhd-sarasa-vapur dlingana-sukho
jaganndthah svdmi nayana-patha-gami bhavatu me
(7)
na vai yace rajyam na ca kanaka-manikya-vibhavam
na yace 'ham ramydrh sakala-jana-kamyarn varavadhum
sadd kale kale pramatha-patind gita-carito
jaganndthah svdmi nayana-patha-gami bhavatu me
(8)
hara tvarii sariisararii drutataram asararn sura-pate
hara tvam papdndrii vitatim apararh yddava-pate
aho dine ’nathe nihita-carano niscitam idarh
jaganndthah svdmi nayana-patha-gami bhavatu me
(1) “Sometimes in great happiness Lord Jagannatha, with
His flute, makes a loud concert in the groves on the banks
of the Yamuna. He is like a bumblebee who tastes the
beautiful lotus-like faces of the cowherd damsels of Vraja
and His lotus feet are worshiped by great personalities such
as Laksmi, Siva, Brahma, Indra and Ganesa. May that Lord
Jagannatha Svami be the object of my vision.”
(2) “In His left hand Lord Jagannatha holds a flute. On His
head He wears the feathers of peacocks and on His hips
He wears fine yellow silken cloth. Out of the corners of His
eyes He bestows sidelong glances upon His loving devotees
and He always revels Himself through His pastimes in His
divine abode of Vrndavana. May that Lord Jagannatha
Svami be the object of my vision.”
(3) “Residing on the shore of the great ocean, within a large
palace situated upon the crest of the brilliant, golden
Nilacala Hill, along with His powerful brother Balabhadra,
and in the middle of Them His sister Subhadra, Lord
Jagannatha bestows the opportunity for devotional service
upon all godly souls. May that Lord Jagannatha Svami be
the object of my vision.”
(4) “Lord Jagannatha is an ocean of mercy and He is
beautiful like a row of blackish rain clouds. He is the
storehouse of bliss for Laksmi and Sarasvati, and His face
is like a spotless full-blown lotus. He is worshiped be the
best of demigods and sages, and His glories are sung by the
Upanisads. May that Lord Jagannatha Svami be the object
of my vision.”
(5) “When Lord Jagannatha is on His Ratha-yatra cart and
is moving along the road at every step there is a loud
presentation of prayers and songs chanted by large
assemblies of brdhmanas. Hearing their hymns Lord
Jagannatha is very favorably disposed towards them. He
is the ocean of mercy and the true friend of all the worlds.
May that Lord Jagannatha Svami be the object of my
vision.”
(6) “He is the ornament of the head of Lord Brahma and
His eyes are like the full-blown petals of the lotus. He
resides on the Nilacala Hill, and His lotus feet are placed on
the heads of Anantadeva. Lord Jagannatha is overwhelmed
by the mellows of love and He becomes joyful in the
embracing of the body of Srimati Radharani, which is like
a cool pond. May that Lord Jagannatha Svami be the object
of my vision.”
(7) “I do not pray for a kingdom, nor for gold, rubies and
wealth. I do not ask for an excellent and beautiful wife as
desired by all men. I simply pray that Jagannatha Svami,
whose glories are always sung by Lord Siva, be constant
object of my vision.”
(8) “O lord of the demigods, please quickly remove this
useless existence I am undergoing. О Lord of Yadus, please
destroy this vast ocean of sins which has no shore. Alas, this
is certain that Lord Jagannatha’s lotus feet are bestowed
upon those who feel themselves fallen and have no shelter
in this world but Him. May that Lord Jagannatha Svami
be the object of my vision.”
OPUEAR MELODIES FOR THE
ARE KRSNA MAHA-MANTRA
• • •
Moderate
Ra - ma Ha re Ra - ma Ra-ma Ra - ma На-re Ha
re На-re Ha - re
This is the way Srila Prabhupada sang the Maha-mantra in 1976 in Los Angeles.
Moderate
S6 L) Lead and Response A
D
Bm
77
Ha-re____ Krs-na
Ha - re____ Krs - na
Krs-na Krs - na Ha - re Ha-re
Ha - re Krs - na Ha - re Krs - na Krs - na Krs-na Ha - re Ha - re
4 G D A D Dal Se§no %
p- ppp p N J J -h «ЬI * IJ J J J :ll
Ha - re Ra - ma Ha - re Ra - ma___ Ra - ma_ Ra - ma Ha - re Ha - re
and follow with
Г No 1 melody * Д7 DAD
I- * plN J JplJ J AMJ J MIT j pl
На-re Krs - na На-re Krs - na Krs-na Krs - na На-re Ha - re Ha-re
| 1st time
]| 2nd time finish |
G D A7 D D
ft J J J'MJ J J, Jj J J JJdJ J ъли J,
Ra - ma Ha-re Ra ma Ra - ma Ra - ma Ha-re Ha - re Ha - re Ha - re
Repeat as desire
This is based on the evening melody and is used in the Sandhya-arati. Here it is in an extended version.
This is the way that Melody No.l is now popularly sung. Kirtana frequently finishes with this melody as shown above.
Allegretto
Lead and Response
iu
Ha - re Krs - na Ha - re Krs - na
Krs - na Krs - na Ha - re Ha - re
Ha- re Ra - ma Ha - re Ra - ma Ra - ma Ra - ma Ha - re Ha - re
Dm C Am Dm
Ha - re Krs - na Ha - re Krs - na Krs - na Krs - na Ha - re Ha - re
Ha - re Ra-ma Ha - re Ra-ma Ra-ma Ra-ma Ha-re Ha - re
Ctim
Andante
Lead and Response Fifm
Ha - re Krs - na Ha - re___________ Krs - na____ Krs na Krs na Ha - re________
Ha - re Ra - ma Ha - re Ra-ma Ra-ma Ra - ma Ha - re Ha - re
Ha - re_________ Krs - na Ha-re Krs - na Krs - na______________________ Krs - na Ha-re Ha-re
C#m
Ha - re _ Ra-ma Ha-re Ra - ma_
Ra - ma Ra - ma Ha - re_ Ha - re
Repeat as desired
Moderate Lead and Response
Ha-re Krs - na Ha-re____ Krs - na Krs-na Krs - na Ha-re Ha
Krs - na Ha - re Ha - re Ha - re Ra - ma Ha - re Ra - ma Ra - ma
Ra - ma Ha - re
| 1st time all repeats
c
]| 2nd time
c
Dal Segno
Ha
re
Ha - re
re
P p • ] Repeat
Ha - re
as desired
Ra - ma Ha - re___________________________ Ha - re
Ha - re Ha - re
Ha - re
Repeat as desired
Andantino
Lead and Response Bb Cm Eb Gm
Ha - re Krs - na Ha - re Krs - na
Krs - na Krs - na Ha - re Ha - re Ha -
- re______ Ra - ma Ha - re Ra - ma
1st time all repeats and finish 2nd time
-re Ha - re Krs - na Ha - re____ Krs - na
Cm Bb
Krs - na Krs - na Ha
-re Ha - re Ha - re Ra - ma_________ Ha - re__________ Ra - ma
Ra - ma Ra - ma Ha - re Ha - - re Ha- - re Ha -
Moderate
Ha-re Ra - ma Ra - ma Ra - ma Ha re Ha-re Ha-re Krs-na Ha-re Krs-na Krs-na Krs-na
Ha - re Ha - re Ha - re Ra - ma Ha - re Ra - ma Ra - ma Ra - ma Ha - re Ha - re
For a nice finish end this with Maha-mantra melody No 1.
repeat as many times as desired
POPULAR MELODIES FOR THE HARE KRSNA MAHA-MANTRA
Krs
Ha - re
Krs - na____ Krs
na Ha - re
Ra - ma__
Ha - re
Ha - re
Ha - re_
Ra - ma_
Ha - re
G
D
D
Ha - re
Ha-re Ra-ma
G
D
Am
ma
]| 2nd time for finish |
G after all repeats
Krs - na Krs - na
| 1st time
G
Krs - na____ Krs
Ha - re Ra-ma
Rhythmically Lead and Response
G
ma Ha - re__
Ra-ma Ra-ma Ha-re Ha - re
Ha - re Ha - re
Ha - re Krs - na
na Ha - re____ Krs - na
Ha - re
Ha - re
11st time all repeats
G
2nd time
Ha - re
Am
Ha - re _
Ha - re
Ha-re___ Krs
Krs-na
Ha - re__
Repeat as desired
Ha - re Krs - na
Ha-re Krs-na Ha-re Krs - na
Krs
na Krs-na Ha-re Ha - re
Lead and Response
Moderate ~
Ha-re Krs-na Ha-re Krs-na Krsna_________________ Krs - na Ha - re Ha-
Krs-na— Krs-na Ha-re Ha - re Ha-re------ Ra - ma Ha-re____ Ra - ma Ra-ma Ra - ma
Repeat as desired
Andante Lead and Response
Ha - re Krs - na Ha - re Krs - na-------------------------------------- Krs
Ab Cm
POPULAR MELODIES FOR THE HARE KRSNA MAHA-MANTRA
Em D
Krs-na Krs-na_____________ Hare_________ Ha-re Ha - re Ra-ma Ha-re
Ra - ma Ra - ma Ra - ma Ha-re___________________________________________ Ha - re Ha-re
G A D D G ^A
.v—Щ|j 7 Ж
Krs-na Ha-re Krs - na Krs-na Krs-na Ha - re Ha - re Ha-re Ra-ma Ha-re Ra
Em A Em /\П
7 ij I j
- ma _____
Ra-ma Ra-ma Ha-re Ha
re Ha-re Krs-na Ha-re Krs - na Krs-na
A . D l к l l К Em А7 . D
?Ж.ГЩ| у Й IJ 'I Д}|| .ШЪ ,-М j ?
Krs-na Hare На - re Hare Ra ma Hare Ra - ma Rama Rama Hare Ha - re Hare
J I-^-p-p-Lp-p p p r MJ 7 p^^
Krs-na Ha-re Krs - na_ Krs-na Krs-na Ha-re Ha - re Ha-re Ra-ma Ha-re Ra
- ma________
Ra-ma Ra-ma Ha-re Ha - re Ha-re Krs-na Ha-re Krs - na Krs-na
for finish
A G—A7 D /"ух Dal Segno
<P p p p p P p - IJ 7 ^^^pр^-’ШЪ .MlM Д- Ш j^J
Krs-na Hare Ha - re Ha-re Ra ma Hare Ra - ma_ Rama Ra ma Hare Ha - re_
Moderate)
Em В c Em D7
Moderate Lead and Response
Вb(intro:) F7 Bb ---- Eb Bb F Bb
17 ic. P/r IjCFju |7 X;
Ha - re Krs - na Ha - re Krs - na Krs - na Krs - na
Bb El? F Bb F Bb
lv Ш Ъ1.Ь Ji Ju
Ha - re Ha re_ Ha re Ra - ma Ha - re_ Ra - ma Ra-ma Ra - ma_ Ha - re Ha re
Eb Bb F Bb F Bb . Eb
ffi'ir* jrjxw-
Ha-re Krs - na Ha - re Krs - na Krs-na Krs - na Ha - re Ha re Ha-re Ra - m;
Bb F Bb F Bb Fm Eb Bb
Щ-j) |L J^OjiQJu-"^ W J iji j j|g|
Ha - re_ Ra - ma Ra - ma Ra - ma _ Ha - re Ha - re Ha - re Krs - na Ha - re Krs - na_
Fm z—s Eb Bb Fm Bb Fm
!>-? J, JU-i-|.ji j Ji j । v J^ JU ц । X~Jj) 17 .h-JU1 J
Krs-na Krs - na Ha - re Ha-re Ha-re Ra - ma Ha - re Ra - ma Ra-ma Ra - ma
Ha - re Ha-re
Ha - re___ Krs - na
Ha - re___ Krs - na
Krs - na Krs - na_ Ha - re Ha - re______
, , , 1st time 2nd time for finish
^Eb Bb__ F Bb __ F Bb F Bb
^uJiuAtoи।7M«гjjij :ii>jjuJj n
На-re Ra - ma Ha-re_ Ra-ma
Ra-maRa-ma_ На-re Ha-re На-re Ha-re
Dal Segno
ModeratO Lead and Response
Ha - re Krs - na Ha - re___________________ Krs - na Krs - na Krs - na___________________________
G Em Am
Ha - re Ha - re Ha - re Ra - ma Ha - re Ra - ma_____________________________________
| 1st time and finish after all repeats
В Em
A I J. IJ 4 "~i ? «Ь J II*
Ra - ma Ra - ma Ha - re Ha - re Ha - re
| 2nd time
This is usually extended after all repeats by: Melody No 1.
| 1st time all repeats | Г2nd time finish
G D7 G . G
ЙТГ J Ji м :|| j_ j —
Repeat as desired
Ra - ma Ha-re Ra - ma Ra-ma Ra - ma Ha-re Ha - re Ha-re Ha - re
Moderate) Lead and Response
Lead and Response Bb
Cm
on X 1 S 1 1 1
। \ i it । i
W ** 1 1 — « _J - ' 1 1 1
• J Ш M
Ha - re Krs - na Ha - re Krs - na Krs - na
Gm Cm
—
FM К k 1 —1
W Я к- и . F\ 1
•* *' b*' ' Krs - na Ha - re Ha - re Ha - r< Bb ; Ra - ma Cm
Lead and Response
These are three simple Hare Krsna Maha-mantra melodies which can be played consecutively.
Moderato Lead and Response
C Dm Gm F
j-J Js IJ J -MlJoa М1.Ж £
Ha - re Ha - re Ra - ma Ha - re Ra - ma Ra - ma Ra - ma Ha - re
1st time all repeats | 2nd time Gm F Gm L A
4 < ГА Г\ 'S S
tb L h •
F—« л К _ 1 • l л . , ft ft 1 •ft Г * П ft ш _ -J )—
!—» П—л 1 ~ a 1)1)1 u & *—*—
Ha - re Ha - re Ha - re Ha - re Krs - na Ha - re Krs - na Krs - na
F Bb F Gm F Gm
Krs - na Ha - re Ha - re Ha - re Ra - ma Ha - re Ra - ma Ra - ma
F Bb F | 1st time all repeats Bb || 2nd time F c
Ra - ma Ha - re Ha - re Ha - re Ha - re Ha - re Krs - na Ha - re
Dm Gm F C F F C
Krs - na Krs - na Krs - na Ha - re Ha - re Ha - re Ra ma Ha - re
| 1st time all repeats || 2nd time for finish
Dm Gm F finish
7 L K -1 К К 1 i г-г
Л К 11 j i j i j i Lil 1
) 1 - ' - < К li 1
• * gJ “ J) * " l_- л •_ .<» 1
Ra - ma Ra-ma Ra-ma На-re Ha - re Ha re Ha - re
Dal Segno
Lead and Response
1 —— Am -y- 4 ? Dm Il J
23 1 •J e J * ~ e
Ha - re Krs - na Ha - re Krs - na Krs - na Krs - na
Am Dm
< C 7 d —
s i S к 1 1 f
кФ - н — ' Л Г\ _J 1 V
5b Ha - re Ha - re — —-^ Ha - re Ra - ma
Dm Am
Ra - ma Ra - ma Ha - re Ha - re
Moderate Lead and Response
, Am । Dal Segno %)
L p - -| p p: p ppp Ji sJ"' -H :ll
Repeat as desired
Ha - re____ Ra - ma Ra - ma Ra - ma Ha - re Ha - re
Moderate)
Ha-re Krs - na Ha-re Krs - na
Moderate Lead and Response
El? Ab
Ha-re Krs - na___ Ha - re_____ Krs - na Krs-na____________ Krs - na Ha - re Ha-re
Ha-re Ra - ma Ha - re___________ Ra - ma Ra-ma______________ Ra - ma Ha - re Ha-re
Ab
Eb
Krs - na__ Krs - na Ha - re
Ha - re
Ha - re Ra
ma Ha - re___ Ra - ma___
Cm
| 1st time all repeats
Bb
]| 2nd time for finish
Bb
j Repeat as desired
Ra-ma Ra - ma Ha - re
Ha-re Ha - re
Ha-re
Moderate Lead and Response
Sg G D G D
27 It Ш1-". У M Щ ji I * I .у ji j
Ha-re_ Krs-na Ha-re_ Krs-na Krs-na Kr-s - na_ Ha-re_ Ha-re
Am D C
AhjpY|~^JyJl Ji Ji Ahjrjd *
D Finish after all repeats
Ra-ma Ra - ma _ Ha-re__ Ha-re
Repeat as desired
Ha-re___ Ra-ma Ha-re______________ Ra-ma
Ha-re____ Krs-na Ha-re Krs-na Krs-na Krs - na_______________________________________ Ha-re_______ Ha-re
Ha - re_ Ra - ma____ Ha re___ Ra - ma _
D Dal Segno
Ra-ma Ra - ma_ Ha-re___ Ha-re
Moderate Lead and Response
Fflm Ctfm Ftfm Ctfm Fflm C#m F#m Ctfm
28 J -J-—J - | J Л JT-J- - 1 J J
Ha - re Krs - na Ha - re Krs-na Krs - na Krs - na Ha - re Ha-re
Ha - re Ra - ma Ha - re Ra - ma Ra - ma Ra - ma Ha - re_ Ha - re
Ha - re Krs - na Ha - re Krs - na Krs - na Krs - na Ha - re Ha - re
Ha - re Ra - ma Ha - re Ra - ma Ra - ma Ra - ma Ha - re Ha
Ha - re__ Ra - ma Ha - re__ Ra - ma Ra - ma Ra - ma Ha - re Ha - re
Film Ctfm Film СЙт Film C#m Fflm Ctfm
Ha - re Krs - na Ha - re Krs - na Krs - na Krs - na Ha - re Ha - re
Ha - re Ra - ma Ha - re Ra-ma Ra-ma Ra-ma Ha - re________ Ha - re
Repeat as desired
Cm
Ab
Eb
I 1st time l| 2nd time
Fm Cm Fm Cm Fm Bb7 pk Dal Segno S;
Ha-rc Ra - ma На-re Ra - ma Ra-ma Ra-ma Ha - re Ha - re - re Ha-re
Repeat as desired
Moderate Lead and Response
Cm Fm Eb Fm Bb Cm
31 JrJpJ- -kJ
Ha - re Krs na Ha - re Krs na Krs - na Krs-na Ha - re Ha-re
And finish after all repeats
Ha-re Ra-ma Ha - re Ra-ma Ra - ma Ra-ma Ha - re Ha-re
Bb Eb Bb L Eb
11= j v J' t7 Mp i M л,ьl
Ha - re Krs-na Ha re Krs-na Krs-na Kr - s - na_ Ha - re_ Ha - re_
Bb Eb Bb Eb
J -jh 7 J- Ф J1 M p «М .b Л J :ll
Ha - re Ra-ma Ha-re Ra-ma Ra-ma Ra - ma Ha - re Ha-re