every Soul has some trenched ambitions nd some great expectations from life. .
we are here to complete their ambition in order to feel their existence. . .and moreover we wil make them Alive actually. .we fuse our engineering mind with beauty of art and we say it JALSPIRATION..leads to birth new era. .
REBIRTH AGAIN....
fusion of beauty of soul nd excellency of mind.. . .
JALSPIRATION
Dsus2 G A D
Phir Mujhe Naragisi Aankhon Ka Sahaaraa De De
G# maj min
Dsus4
D D6
Meraa Khoyaa Huaa Rangin Nazaaraa De De,
Dsus2 Gmajmin
Gsus4
Mere Mahaboob
Tujhe...
(The sequenceD6 DSus4 G A Dcan be substituted byD6 Dsus4 D6 D D6 for better tone)
G
maj min D sus2
D
G Bm
Ae Mere Khwaab Ki Tabir, Mere Jaan-E-Gazal,
D6 DSus4 G A D
Zindagi
Meri
Tujhe Yaad Kiye Jaati Hai
Gmaj
min Dsus4 D G
Bm
Raat Din Mujhako Sataataa Hai Tassavuur Teraa
D6 Dsus G
A
D
Dil Ki Dhadakan
Tujhe Aawaaz Die
Jaati Hai
Dsus2 G
A
D
Aa Mujhe Apani Sadaaon Ka Sahaaraa De De
(In
The Same Pattern Try To Carryout Whole Song)
Bhool
Sakati Nahin Aankhen Vo Suhaanaa Manzar
Jab Teraa Husn Mere Ishq Se Takaraayaa Thaa
Aur Phir Raah Men Bikhare The Hazaaron Naghamen
Main Vo Naghamen Teri Aavaaz Ko De Aayaa Thaa
Saaz-E-Dil Ko Unhin Geeton Kaa Sahaaraa De De
Meraa Khoyaa....
Yaad Hai Mujhako Meri Umr Ki Pahali Vo Ghadi
Teri Aankhon Se Koi Jaam Piyaa Thaa Maine
Meri Rag Rag Men Koi Barq Si Laharaai Thi
Jab Tere Maramari Haathon Ko Chhuaa Thaa Maine
Aa Mujhe Phir Unhin Haathon Ka Sahaaraa De De
Meraa Khoyaa ....
Maine Ik Baar Teri Ek Jhalak Dekhi Hai
Meri Hasarat Hai Ke Main Phir Teraa Deedaar Karun
Tere Saae Ko Samajh Kar Main Hanseen Taajamahal
Chaandani Raat Men Nazaron Se Tujhe Pyaar Karun
Apani Mahaki Hui Zulfon Ka Sahaaraa De De
Meraa Khoyaa....
Dhoondhata Hun Tujhe Har Raah Men, Har Mahafil Men
Thak Gaye Hain Meri Majaboor Tamannaa Ke Qadam
Aaj Ka Din Meri Ummid Ka Hai Aakhari Din
Kal Na Jaane Main Kahaan Aur Kahaan Tu Ho Sanam
Do Ghadi Apani Nigaahon Ka Sahaara De De
Meraa Khoyaa .....
Saamane Aa Ke Zaraa Pardaa Uthaa De Rukh Se
Ik Yahi Meraa Ilaaj-E-Gham-E-Tanhaai Hai
Teri Furaqat Ne Pareshaan Kiyaa Hai Mujhako
Ab To Mil Jaa Ke Meri Jaan Pe Ban Aai Hai
Dil Ko Bhooli Hui Yaadon Ka Sahaaraa De De
Meraa Khoyaa .....
Friday, November 23, 2012
A VERY IMPORTANT
NOTICE i am putting
jalspiration on sleep mode jalspiration
is the a strong thought...a convicted promise with a lot
of doctrinaire approach...as it was so
refined thought...i(eye) bring my imagination into reality...and executed
wellgod
i completed my promise... THANK YOU
FOR GIVING ME SUCH A GREAT TASK ....SO THERE ALL COMPLETED AND I AM WAITING FOR
FURTHER NOTICE AND IF eye WOULD AWAKE AND SEE A NEW DREAM
Monday, November 19, 2012
If
i want to Figure out there is lot stuffs which can put me into the lot of
conundrum... but there is also a lot of stuffs which can bring me into lot
of joy ... I have to choose the path... I have to awaken (eye) and feel good moreover feeling good for long time puts me into boredom
state ... but that is stubborn feeling ... that feeling good for long tym is the great responsibility
and opportunity to be mature ... being mature and more mature with good tym then puts me into
tranquil state... that tranquile state is the responsibility of holding the
positive power and to being just near to god being near to god is the safest place and there i forgot who
i am and why here i am that was the trance state of my mind... I just realized that what i am is the just a part of past
promises that i have made ... I am here just becoz of that promises to accomplish that to
complete that but i found it is much hard being satisfy that promises i
have made becoz i just wish to change the world where i am living I found to change something we have to accept the present
situation seriously but when i do it so i changed the world and all over here
is exactly what i wish but now i feels that i was not that much right coz i
started loving the world which was unchange ... i am really missing that why i changed that? why?
Raga Yaman, also known as Raga Iman, is a night raga which is very romantic in nature. Some say its origin is from the Persian mode “Ei’man” from which “Yaman” came about. Others say it has Vedic origins as Raga Yamuna which through time had its pronunciation altered as Yaman. Nonetheless, this raga is often taught to beginners in North Indian music.
There is another similar raga called YamanKalyana, which is the exact same structure, except there is an addition of suddha ma which is so skillfully sandwiched by a suddhaga and suddha re.
Lets close down the yaman story with some wonderful remaining yamans....
First is the second best Yaman Duets along with "Wo jab yaad aaye".
Song tags:
Rafi-Asha, Question answer, romance, chhed-chhad, Dev anand- Sadhana and finally JaiDev.....
"Abhi na jaao chhodkar ke dil abhi bhara nahi"
http://www.youtube.com/watch?v=xzg6olcxjgQ
RD burman has given 2 of the best and unique Yamans in a single movie.
Movie Masoom.
singing, lyrics, tune and picturization, all just perfect...
First Bhupendra and Suresh Wadkar. A Rare Male duet Ghazal...
"Huzur is kadar bhi na itara ke chaliye"
http://www.youtube.com/watch?v=OlVbZy-mS5g
Second the wonderfull
"Do naina ek kahani"
http://www.youtube.com/watch?v=MZL_dpb_6Lo
Khayyam sahab always relied on the Beauty of raag "pahadi" in most of his songs.
Following is one of his very few Yaman-ish compositions however here are elements of Pahadi in it. One may call this song is on the lines of "Shuddhha kalyan"
I guess out of the sheer lyrics he picked his wife Jagjeet kaur for this song. Watch out this song for the Sahir-sahab majestic lyrics...
Usha khanna is famous as the only Female music director. Only few know Sudha Malhotra too was as an MD. Her all time favorite duet with Mukesh has Yaman written all over it.
Shankar jaikishan were not famous for their classical music based compositions but they had given some wonderful raag based songs in "anari", "Suraj" and Basant Bahar etc.
This one from "Junglee" is a yaman based beauty. This is a tribute to Rafi sahab on his birthday..
Bhavgeet: There is a certain MD called shrinivas Khale, who is famous for his complex but melodius tunes, Lets start with couple of his compositions on Yaman Bhavgeets.
The all college function, all small scale mehfil song of "Arun Date" and "Sudha Malhotra". Anuradha paudhval too has sung with Arun bhaiya for another version.
The song of course is great, but has become vanilla due to over-usage.
The second antara leaves Yaman and joins back at the end. Another interesting thing to note is Sudha malhotra's correct pronunciation of the unique marathi letter "la" which we have discussed sometime back.
Arun Bhaiyya date would remind you talat. I couldn't find any of the two original songs. This is some version.
"Shukrataara mandwara"
http://www.youtube.com/watch?v=-i2Lz71t6Qw
This is again a master piece from Khale sahab. There are many versions of this song on youtube. right from shankar mahadevan, Rahul Deshpande and even Rahul Saxena of indian Idol fame have sung it. But the original version was by the one and only Dr. VasantRao Deshpande.
"Baglyanchi Maal phule"
http://www.youtube.com/watch?v=bWqEOGiOlO8
Coming back to Lata-Hridaynath. This is a heavy song. Anybody who likes any form of music must listen to this song. You may or may not like it but you will surely find it interesting. This song had been a nightmare for both accompanists and singers in our short mehfils. There are 3 different taals used in this song which keep on changing at will. and the raaga although has a "Yaman Effect" keeps on changing as well.
the challenge for singer is in bringing the content, feeling and effortlessness if we take the basic notes for granted, for the players it is in controlling the singer in terms of taal and raag.
Check it out yourself. The song starts with "jhaptaal", suddenly changes to western 4 beats and then in antara it is pure ghazal dadra.
Marathi Bhavgeets and bhaktigeets are enriched by this Raaga. HridayNath Mangeshkar and Sudheer Phadke were the main contributors.
Starting with Bhajans.
Aasha Tai has plenty in this genre. The best of her which matches the beauty of "nighahen milane ko" in my ratings for likability. Hridaynath Mangeshkar is the MD.
The beutiful abhang lyrics which describe the nirgun nirakaar brahma takes you deep in trance.
Lata Bai Conveys the philosophy of "chapal man" under the direction of her brother . Watch out for the excellent flute play, yours truely has ruined one mehfil while accompanying the song on flute...
A duet of Dr. VasantRao Deshpande and Anuradha paudhwal. Music director is "Anil (Mohile)- Arun (Paudhwal).
Check for the mind blow murki of vasantao is in last line of the mukhda.
My all time favorate, the very very rare combo of two of the greatest classical stalwarts coming together for this abhang.
Bharat Ratna Pt Bhimsen Joshiji Joined by Dr. VasantRao Deshpande. A Samprass Vs Agassi afair. Not to be missed. The MD is Raam Kadam...
Lets begin this mind-blowing Lata number of Bhabhi ki chudiya. MD is sudhir phadke. Like any song of Sudhir Phadke, the tune is woven under very strict limits with lots of scope for singer and raaga. Please note that the lyrics are again chaste hindi
Rajshri Production had a long association with Ravindra Jain for the simple down to earth movies. Chitchor was the best musical amongst all. Again all songs are raaga based which suited the demand of the movies as well.
J Yeshudas is teaching Hemalatha the a lesson on Raag Yaman Kalyan. In the antara it shows that she has picked it up well.
The next 2 are ghazals, on which I needn't and shouldn't say more.
Unfortunately I still havent found the links of these ghazal will update it later.
First the famous mehfil ghazal of mehdi hasan sahab.
A short post..
One of the strange thing observed is most of the yaman based songs have chaste hindi lyrics. At some level it can be attributed to Roshan who is known to be master of mythological movies. But there are modern songs too.
Out the song discussed in this blog till now..
"Sansar se bhagte phirte ho"
"Man re too kahe na dheer Dhare"
"aapke anurodh pe"
"jeevan Dor tumhi sang bandhi"
"tum gagan ke chandrama ho"
"tum bin jeevan kaise beeta"
There are very few batsmen who have scored century on Debut. This duo had scored a triple in Parasmani. In my opinion one of the 2 best Yaman duets ever (The other one will come in the discussion later). From The maturity of this song it is hard to believe that MDs were making their debut and remember they are directing the stalwarts of the likes of Lata and Rafi.
Right from the initial Alap of Lata the song goes on to be a winner. A perfect example of Viyog kalyan, with "magar rote rote hasin aa hayee hain" creating goosebumps...
pdw Slightly off the topic The encyclopedia of Viyog Kalyan. Babuji (Sudhir phadke) singing geet Ramayan. The lyrics are the words of Lord Rama to Bharat when the later asks him to come back to Ayodhya instead of going to vanvas. I am sure out of the various tunes and notes in this song atleast 10 new songs can be created...
LP's Yaman Cotd...
Ustad Kishore Kumar Khandvi was a born genius. Whatever field He had touched upon had all turned to gold. Here Ustadji Presenting his Yaman…
The next song shows why Laxmikant Pyarelaal were unique. The Ghazal lyrics are moulded in Yaman with beauty. The song starts with chorus and before the listener settles, lata starts taan, murkis and Adas. It is like people are still settling in the stadium and suddenly in the first ball of the match Sehvag hits a six.
When Laxmikant Pyarelaal created a Yaman during the making of Ram-Lakhan they entrusted it to Lata. The song has also has much to offer in term of orchestration.
Yaman Contd....
We can go on with Lata and Yaman, but lets change the classification and take it MD wise. Lata will anyway feature in everywhere.
Roshan's Yamans: If khamaj is for SD and RD, Piloo for OPN, Bhairavi for Shankar Jaikishan and Shivranjini for Laxmikant Pyarelaal, then Yaman is for Roshan or should I say Roshans.
-
-
Roshan teams up with Rafi and gives this winning Score. The rare specialty of Roshan was the use of Bells and check how beautifully the ringing of the bells envelops the the last line of the mukhada.
"dil jo na kah saka"
Roshan Sahab and Ashatai celebrate this Quawwali, which incidentally heard to be on the favorite Asha song of Lataji. The song has everything, different tunes, instruments play, taans, bol taans, aalaps.
Junior Roshan seems to have taken the tip from the Pa Re Sa from here and gave this. No no there is absolutely no copying here. The mood, tune and everything else is very different and the descending pattern "Pa Re Sa " belongs to Yaman.
Same movie Rajesh Roshan uses Yaman again. Goes more on western chooses Sanu instead of Udit. Whatever people say about Udit and Sanu but In my opinion these 2 songs are their own..
"Pyar main hota hai kya jaado".
Coming back to senior Roshan
Lata tells the philosophy of sahir saheb on Yog and Bhog in Yaman notes. The lyrics sit right at the epicenter of Suyog Vs Viyog debate and it had to be yaman kalyan.
"Barsat ki raat" was a wonderful work of Roshan so as this Yaman. Not sure but I guess this was one of the very first of the song which is shown in the movie as sung on Radio.
"Dil hi to hai" was a rare association of Raj Kapoor and Roshan. Most of the songs of this movie were Raaga based. "laga chunari main daag" (Bhairavi) and "Nigahen milane ko jee chahata hai" (Yaman) had very strong classical inclinations.
Then there are these 2 famous Mukesh Solos which are Yaman based. Mukesh has always sung yaman with beauty. The honesty in the voice and note by note clarity is all evident here.
Tum Agar mujhko seems to be rolling over Rajesh Roshan's mental sub-conscious CD when he composed this oasis song of 1990.
Again can not be called a copy by a single iota, because the moods and notes of the two songs are entirely different. But check the rising and falling patterns of the two songs, although the notes are different but there is a very subtle similarity. The song has strong effect of Yaman, very nice catalyzing flute pieces running around Teevra Madhyam. Also After a long time (after "mere mehboob tujhe" ?) in HFM we have seen such a nice "Nazm" oration.
Rajesh Roshan had a habit of creating such goose-bumpy beauties amongst the huge market demand of 'other' type of songs. His love for Yaman shows up again and again in various songs.
There was a Anil-Madhuri Movie called "Khel" in 1993. The movie was more famous for Asha's number "Idli doo idli doo". My favorite was Prem Chopra's takiya Qulaam "Aap to mera nature jaante hain".
but there was this very likable Yaman number too.
Uac
The discussion on Yaman and Roshan can not be complete without mention of this song. Hemant Kumar Mukherjee was a par-excellence singer and music director. Songs he was associated in anyways can be called as a different genre. Here is this duet with Lata from Mamta
RAGAS INFORMATION Indian classical music is based on the ragas ("colors"), which are scales and melodies that provide the foundation for a performance. Unlike western classical music, that is deterministic, Indian classical music allows for a much greater degree of "personalization" of the performance, almost to the level of jazz-like improvisation. Thus, each performance of a raga is different. The goal of the raga is to create a trancey state, to broadcast a mood of ecstasy. The main difference with western classical music is that the Indian ragas are not "composed" by a composer, but were created via a lengthy evolutionary process over the centuries. Thus they do not represent mind of the composer but a universal idea of the world. They transmit not personal but impersonal emotion. Another difference is that Indian music is monodic, not polyphonic. Hindustani (North Indian) ragas are assigned to specific times of the day (or night) and to specific seasons. Many ragas share the same scale, and many ragas share the same melodic theme. There are thousands of ragas, but six are considered fundamental: Bhairav, Malkauns, Hindol, Dipak, Megh and Shree. A raga is not necessarily instrumental, and, if vocal, it is not necessarily accompanied. But when it is accompanied by percussion (such as tablas), the rhythm is often rather intricate because it si constructed from a combination of fundamental rhythmic patterns (or talas). The main instrument of the ragas is the sitar, although historically the vina zither was at least equally important. Carnatic (Southern Indian) ragas constitute one of the oldest systems of music in the world. They are based on seven rhythmic cycles and 72 fundamental ragas. The founder of the Karnataka school is considered to be Purandara Dasa (1494). Carnatic music is mostly vocal and devotional in nature, and played with different instruments than Hindustani music (such as the mridangam drum, the ghatam clay pot, the vina sitar as opposed to sitar, sarod, tambura and tabla). The fundamental format of Carnatic songs is the "kriti", which are usually set in the style of a raga (the raga serves as the melodic foundation).
TRANCE STATE
"We
manage to swallow flesh only because we do not think of the cruel and
sinful thing that we do. Cruelty... is a fundamental sin, and admits of
no arguments or nice distinctions. If only we do not allow our heart to
grow callous, it protests against cruelty, is always clearly heard; and
yet we go on perpetrating cruelties easily, merrily, all of us - in
fact, anyone who does not join in is dubbed a crank."
- Rabindranath Tagore
Conscious & Subconsious mind
Our conscious mind is like the proverbial 'tip of the iceberg' (see diagram).
The
subconscious mind is where all the experiences of all our lifetimes are
stored. The subconscious mind is not accessible in normal waking
consciousness. It can be accessed during deep relaxation states or
altered states of consciousness. During past-life-regression, subjects
are taken to deep levels of relaxation where they enter into a trance
state. In this deep state, one can access the subconscious mind where
the information about the past lives is stored. Meditation produces deep
levels of relaxation or altered states of consciousness. This is the
reason why past life memories often open up spontaneously during
meditation.
To
understand what happens during trance states, it is important to know
about the brain wave activity. The mind has four different levels or
stages of activity (see diagram).
The first level is
beta, during which most of the conscious mind is works on regulating
the metabolism and only a small part deals with our conscious thoughts.
The second level is
alpha, during which the subconscious mind is activated and our
concentration is very high. Alpha stage is reached during: meditation,
regression-induced trance etc. A trance-state is a natural state of
mind. The common misconception is that the mind is asleep during this
state. However, one is fully aware when in a trance state.
The third level is theta, which relates to the part of the mind that functions during light sleep. The fourth and last level is delta and is the level we reach during deep sleep. At this level the mind gets the maximum amount of rest
Trance State: When
we induce a trance during regression, we communicate directly with the
subconscious mind. When we are functioning at full consciousness, both
the subconscious and the conscious mind are functioning simultaneously.
During the trance state, our concentration level is much higher compared
to our normal conscious mind.
Levels of Trance States:
There are mainly three levels of trance states: The
first level is that of a light trance. In this level, the subject does
not feel as if in trance state. They are fully aware of the noises etc.
in their environment. Although regressions and progressions can be done
at this level, the information obtained is not very clear. Ninety five
percent of the people can achieve a light trance.
The
second is a medium trance. In this state the subject is more relaxed.
In a medium trance, the subject may be dimly aware of external noises
but does not get distracted by it. About 70 percent of the people can
achieve a medium trance.
The
last level is called a deep trance or 'somnambulistic trance'. This is a
very deep level of trance and the subject may not remember what was
done in the trance state unless specifically told to remember upon
coming out of the trance. Only about 5 percent of the people can go into
a deep trance. Even in this deep state, the subject cannot be told to
do or say anything that is against his or her moral or ethical code. The
subject is always in control. This is the truth and not what is often
depicted in Television and Movies where people in a deep trance state
are shown as if totally under the control of the person giving them
suggestions.
Who
can enter into a Trance? Contrary to popular the misconception,
intelligent people (those who can grasp concepts quickly and reapply
them easily) make the best subjects for Past-Life-Regression as they can
go into a trance easily. Intelligent people have excellent memory and
concentration level making it easier for them to focus better and get
totally involved in the process. If you are a person who; can express
emotions with ease, can visualize imagery in detail or are capable of
getting so engrossed in observing nature or your surroundings that you
do not feel the passage of time, then you are a person who can go into a
trance very easily. If you have a cynical or excessively critical
nature, the chances of your going into a trance are lowered. Children
can go into a trance very easily because of their good imagination, lack
of cynical attitude and lack of skepticism.
On
the other hand the people who experience difficulty going into a trance
are those; who have very short attention spans, who are always dwelling
in the past, who are constantly worrying about the future, who always
use logic instead of emotions, who have very low IQs, who are cynical,
who are very skeptical, who resist flowing with the process etc. Other
factors that affect ones ability to enter into a trance are; severe
alcoholism or drug abuse, inability to follow the language of the
therapist, mental retardation, brain damage. However, it is possible to
work with anyone and gradually improve his or her ability to enter into a
trance though the progress will initially be slow.
ECSTACY
ec·sta·sy noun \ˈek-stÉ™-sÄ“\
plural ec·sta·sies
Definition of ECSTASY
1
:
a trance state in which intense absorption (as in religious ideation)
is accompanied by loss of sense perception and voluntary control
2
often
capitalized : a synthetic amphetamine analog C11H15NO2 used illicitly
for its mood-enhancing and hallucinogenic properties—called also MDMA,
methylenedioxymethamphetamine, XTC
INTRO Em Em D D e -----0------0------2------2--------------- b ------0------0------3------3-------------- g ----0--0---0--0---2--2---2--2------------- d ---2------2------0------0----------------- a ------------------------------------------ E ------------------------------------------
Em Em D D C D Em e -----0------0------2------2----0---2---0-- b ------0------0------3------3---1---3---0-- g ----0--0---0--0---2--2---2--2--0---2---0-- d ---2------2------0------0------2---0---2-- a -------------------------------3---x---2-- E -------------------------------x---x---0-- MUKHDA Pani (Em)da rang (D)vekh ke… Pani (Em)da rang (D)vekh ke… Pani (Em)da rang (D)vekh ke… (C)Akhiyaan jo (D)anju rul (Em)de. [Only hit C,D. Strum Em] (C)Akhiyaan jo (D)anju rul (Em)de. Akhiyaan jo anju rul de. [female] Continue Strumming (C) (D) (Em) (Em) (Em)Maahiya na aaya mera, (D)maahiya na (Em)aaya. (Em)Maahiya na aaya mera, (D)maahiya na (Em)aaya. (C)Ranjhana na aaya mera, (D)maahiya na (C)aaya. (Em)Maahiya na aaya mera, (D)ranjhana na aaya. Akhaan (Em)da noor (D)vekh ke… Akhaan (Em)da noor (D)vekh ke… (C)Akhiyaan jo (D)anju rul (Em)de. Akhiyaan jo anju rul de.[female] (C)Akhiyaan jo (D)anju rul (Em)de. (C)Akhiyaan jo (D)anju rul (Em)de. (Em)Kamli ho gayi tere bina, [Hit Em] (D)aaja ranjhan (Em)mere. [Continue strumming] (Em)Kamli ho gayi tere bina, (D)aaja ranjhan (Em)mere. (C)Baarish barkha sab kuch beh gayi, (D)aaya ni jind (Em)mere. (C)Baarish barkha sab kuch beh gayi, (D)aaya ni jind (Em)mere. Akhaan (Em)da noor (D)vekh ke… Akhaan (Em)da noor (D)vekh ke… (C)Akhiyaan jo (D)anju rul (Em)de. (C)Akhiyaan jo (D)anju rul (Em)de. (C)Akhiyaan jo (D)anju rul (Em)de. (Em)Kotthe utthe beh ke, (D)akhiyaan milaunde (C)Na jaana (D)main tu kabhi (Em)chhod. (Em)Tere utte marda, (D)pyaar tenu karda (C)Milega (D)tujhe na koi (Em)aur. Tu bhi (Em)aa sabko (D)chhod ke Tu bhi (Em)aa sabko (D)chhod ke Meri (C)Akhiyaan jo (D)anju rul (Em)de. (C)Akhiyaan jo (D)anju rul (Em)de. Pani (Em)da rang (D)vekh ke… Pani (Em)da rang (D)vekh ke… Pani (Em)da rang (D)vekh ke… (C)Akhiyaan jo (D)anju rul (Em)de. (C)Akhiyaan jo (D)anju rul (Em)de. (C)Akhiyaan jo (D)anju rul (Em)de. Akhiyaan jo anju rul de.[female] (C)Akhiyaan jo (D)anju rul (Em)de. Akhiyaan jo anju rul de.[female] (C)Akhiyaan jo (D)anju rul (Em)de. Akhiyaan jo anju rul de.[female] (C)Akhiyaan jo (D)anju rul (Em)de. Akhiyaan jo anju rul de.[female] (C)Akhiyaan jo (D)anju rul (Em)de. (C) [Stop Strumming!]
hence we can see our self as a combination of waves
as we can see ourself as a combination of waves we can even fly aeroplane according to the newyork times given attachment how-brain-waves-can-fly-a-plane.
let find out more interesting stuffs about that
as we thinks we emits wave and thoughts are nothing but a waves
thoughts are wave According to geeta we are the result of a thoughts...and thoughts are the result of our existence so god is with in our thoughts becoz everything here we can see feel is a thought .... one more artical i would like to share and add its waves of thoughts there is story in this article
Swamiananda, and his disciple Ranga, were strolling on the beach by the ocean. It was a cold day and the wind was blowing strongly over the ocean, raising very high waves.
After walking for some time, Swamiananda stopped, looked at his disciple and asked:
"What does the choppy ocean remind you?"
"It reminds me of my mind. Of my rushing and restless thoughts", answered Ranga.
"Yes, the stormy ocean is like the mind, and the waves are the thoughts. The mind is neutral like the water. It is neither good, nor bad. The wind is causing the waves, as desires and fears produce thoughts", said Swamiananda.
"I wouldn't want to be on a boat, in the middle of the ocean, in a storm like this", said Ranga.
"You are there all the time." Responded Swamiananda and continued, "Most people are on a rudderless boat in the middle of a choppy ocean, even if they do not realize it. The mind of most people is very restless. Thoughts of all kinds come and go incessantly, agitating the mind like the ocean's waves."
"Yes", Ranga interrupted him, "You don't have to tell me. This is the reason I am with you. I want to calm down the waves of my mind."
Swamiananda looked at Ranga for a while, smiled and said:
"You don't calm the ocean by holding the water and not letting it move. What is necessary is to stop the wind. The wind is made of your thoughts, desires and fears. Don't let them rule your life. Learn to control them by controlling your attention, and then the ocean of your mind becomes calm."
"And how do I do that?"
"Suppose it is possible for the ocean to disregard the wind, what would happen then?" asked Swamiananda.
"The waves would cease. However, no one can stop the wind."
Swamiananda looked at him with a mysterious smile and said:
"Why not? The wind, the ocean, and thoughts are all within the mind. When you can control the mind, you can control everything within it. But first you have to control your mind, which means you have to control your attention."
"Yes master", said Ranga, " this is what I am trying to do. You say whoever controls his mind can also control the wind. Can you do that?"
"First learn to calm down the ocean of your mind, and then find out if you can calm down the ocean. It is better to learn to control the mind, than enjoying mental tricks. When you calm your mind, you can calm down everything."
calm down your mind and then you will realize what is god...
