Video Library

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All videos were recorded live during our weekly drop-in classes.

Check out the “chapters” in each video for easy navigation.

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178. 3 Part Maha Mantra; Count-Singing

Learn the 3 Part Maha Mantra - also known as the Reunion Maha Mantra (Sri Prahlada) & a favorite of Wisdom of the Sage’s Raghunath Cappo, as well
The chant is taught in 3 parts, key of G Major & using 4 chords - arranged identically with different melody in the first 2 parts & in another order for Part 3
Seth teaches fingering for seamless chord transition with demos for each section & uses the count-singing technique to reinforce learning melody & rhythm
Practice suggestions: (1) Use your ear to identify melody notes (2) Check out Video Library 133 for an alternative lesson on this chant (3) Look up reference recordings, to hear chant as interpreted by the 2 different kirtankaras

177. Hanuman Bolo by Shyama Chapin

Learn the chant Hanuman Bolo by Shyama Chapin working from notation & a reference audio recording, in the same key, to support practice
This lesson is taught in 2 parts with Seth demo-ing the loop between sections for clarity; as well as tips for fingering chords with black keys
Hear & absorb the interesting melody & unexpected chord change timing, creating interest & a challenge students for students to recreate as they play
Practice suggestions: (1) Experiment with chord arpeggiation & the mood of chant (2) Check out Video Library 127, 128 for related lessons

176. Transcribe Sri Krishna Govinda; Memorize!

Learn the chant Sri Krishna Govinda - from audio - as an experiment in developing the ear to discern melody & chords
Memorization is a theme in this lesson & Seth provides insight on repetition & tips for moving learning from short-term to long-term memory
Be sure to listen to Seth’s opening meditation, focused on body awareness with queues to relax the body & prepare for chanting, playing the harmonium
This chant includes 2 sections & demos for a tag or coda to end the chant without returning to the beginning section
Practice suggestions: (1) Apply this technique to transcribe other chants you wish to learn (2) Memorize at least 3 chants (3) Check out Video Library 48, 94, 120, 125 for related lessons

175. All One (Hare Krishna) by Krishna Das

Learn one of Krishna Das’ most popular & well know chants - All One (Hare Krishna), which is sure to be a favorite addition to your next kirtan
This chant, in the key of A Minor, includes 3 parts but with similar chords & subtle changes in melody for ease of learning
The lovely melody is moving up & down the scale; higher & higher as you go creating opportunities to experiment with chord inversions or chord shapes
Practice suggestions: (1) Learn A Minor scale to familiarize yourself with notes for adding melody, elaboration (2) Listen & play with the Spotify reference recording (3) Check out Video Library 96-97 for other lessons on this chant

174. Om Gam Ganapataye Namaha by Edo & Jo

For Akshaya Tritiya, when Vyasa Dev began to dictate the Mahabharat to Ganesha, learn the simple, well-known chant Om Gam Ganapataye Namaha
This chant, in the key of B Minor, includes 3 distinct chords (4 total) over 4 lines with changes in melody & mantra
Seth uses the lift-position-switch technique to smooth the transition between D Major & A Major chords, also providing an easier fingering option
Practice suggestions: (1) Practice B Natural Minor scale to learn melody (2) Listen & play with Spotify recording (3) Play this melody while chanting the Maha Mantra (4) Review Video Library #117 for another lesson on this chant

173. Radha Rani by Jai Uttal, Parts I-III

Learn a very sweet chant played with only black keys - Radha Rani by Jai Uttal. Sing to Queen Radha, celebrating the highest feminine energy & powerful shakti!
This chant is presented in 3 Parts, arranged in the key of F# Major, but tricky fingering is simplified by holding a C# note steady throughout the chant
Seth also reviews an easy transposing method, which is perfect for students who find the original version too high for comfortable singing
Practice suggestions: (1) Practice F# Major scale to familiarize yourself with the notes (2) Follow Seth’s easy transposing method to try this chant in different keys (3) Post your version on our community Facebook page

172. Gaura Arotik Maha Mantra

Enjoy a simple, beautiful musical chord progression of the Śrī Gaura Ārati prayer, presented here as a melodical backdrop to the Maha Mantra
This version includes 4 familiar chords in the key of C, easy to learn with shared 1st & last lines & along with a doubled G chord for a stretch of the hand
Seth demos melody notes, commenting on the balance of adding melody over harmony (chords) & ending in a group kirtan with bonus 2nd, 3rd parts
Practice suggestions: (1) Slow video speed to transcribe melody notes (2) Create your own version combining melody, harmony & additional verses of the Śrī Gaura Ārati prayer (3) Post your practice on our community Facebook page

171. Spring Community Sharing Showcase

In this freewheeling video…. Enjoy a recap of chants from the first months of 2025, as students offer their own unique versions
“Live” students showcase their skills in short kirtans picked from a selection chants taught in recent lessons
Seth provides feedback & perspective to create a unique harmonium learning experience for all students – live & video community
Practice suggestions: (1) Review the recent Video Library (2) What was your favorite kirtan chant of the year so far? (3) What can you learn from listening to other students & appreciating each individual’s unique style?

170. Jai Uttal’s Supersonic S.R.I. R.A.M.

In honor of Ram’s appearance day, learn S.R.I. R.A.M. by Jai Uttal, celebrating the avatar of Vishnu or Krishna, representing righteousness & duty
This chant presents opportunities to challenge & engage students: (1) play in a key other than C (2) learn a more complicated melody in Section 2
Jai Uttal’s version contains 4 sections; this lesson focuses on 2 parts & provides specific transitions to flow between each section
Experience a mini-Kirtan as Seth shares all 4 parts of the chant & students have the opportunity to play & sing
Practice suggestions: (1) Review other lessons on this chant, taught in Video Library #62, 65, 78 (2) Either by ear or video review, transcribe melody notes

169. Ong Namo by Snatam Kaur

In this video learn a simple, sweet chant in the Sikh tradition, with mantra crossover to Sanskrit a mantra by Snatam Kaur, Ong Namo
This chant is taught in two parts, in a G Major key using four different chords & two realizations of the C chord
Seth teaches simple music theory, shares interesting observations on chord progression & pinpoints a brief dissonance with F Major 7 chord in Part 1
Practice suggestions: (1) Review another lesson on this chant, taught in Video Library #110 (2) Experienced students should work toward memorizing chord progressions

168. Gopala Gopala Devakinandana Gopala

In this video, learn an upbeat, traditional melody that is fun to learn & includes familiar chords that are fun to play - Gopala Gopala Devakinandana Gopala
The chant is taught in a C Major key using three different chords & several realizations of the C chord, which Seth explains
Seth demos, emphasizing melody notes, which are basically 4 notes up/down the scale in Part 1 & introduces a “Flat 7” added to the C Major scale
Practice suggestions: (1) Review another lesson on this chant taught in Video Library #115 (2) Use your ear to identify melody notes & add to basic chords (3) Practice lift-position-switch & finger substitutions to transition Part II to Part I

167. Shri Krishna Sharanam Mama; B Major Key

Learn a comforting, nurturing chant with this lesson featuring Shri Krishna Sharanam Mama; meaning to take shelter in the divine
The chant is taught in a B Major key with three unique chords & a melody employing a musical sequence, stair stepping up & down the scale
The presentation touches on the B Major scale, which contains all of the black notes yet is fun & easy to play - following the contours of the hand
Seth teaches options to embellish & add texture; tapping, adding connector notes to link chords & overlaying a musical sequence to link the end back to the start
Practice suggestions: (1) Play the B Major scale noticing hand shape movement (2) Memorize the simple chord sequence as a basis to add embellishments (3) Work to add tapping, connectors & melody notes for your own version

166. Maha Shivaratri; Shiva Shambo

In this video, you will learn a chant in celebration of Maha Shivaratri – Shiva Shambo – taught in a minor key with two chords & two distinct verses
The lesson focuses on chord change timing for the basic version & offers a demo to “complexify” the chant using rhythmic tapping or melody embellishments
This chant is taught in the key of E minor, which may be high vocally for some…. Seth teaches a lesson in transposing to allow options for more accessible range
Practice suggestions: (1) Practice tapping using a common kartala rhythm 1, 2 (rest), 3, 4 (2) Develop your ear training by transcribing melody notes (3) Bring it all together by tapping & adding melody notes for interest & complexity

165. Svagatam in a Minor Key; 3/4 Time Signature

In this video, you will learn an evocative chant in a minor key Svagatam, by Raghunath Cappo, a chant to welcome the divine into our lives
The lesson includes 3 parts with 4 straightforward chords; although there is an optional “stretch” required to fully realize a chord in 2nd section
This chant is written in 3/4 time or 3 beats per measure, which is a departure from the more typical common time 4/4 or 4 beats per measure
As a challenge, Seth teaches embellishments using melody notes from the D minor scale to fill space between chords & to create your own unique version
Practice suggestions: (1) Play with the reference recording, which is in the same key (2) Use count-singing to internalize the feel of the time signature (3) Consider a presence you’d like to invite into your life & add additional verse(s)

164. Sita Ram Jay Hanuman; Different Levels

In this video, you will learn the chant Sita Ram Jay Hanuman with a level for all students to approach – chords only, melody plus chords, added embellishments
The lesson includes 1 part with 3 different chords & 5 chord shapes, including a “pick up” at the start of the first part
As a challenge, Seth teaches embellishments for interest… Connect chords, add flourishes - to create texture & decorative options for your own interpretation
Practice suggestions: (1) Use video “settings” to slow the speed of melody demos, then try to notate melody notes (2) Challenge yourself to “level up” adding melody or embellishments

163. Saraswati (Creativity & Wisdom) by Edo & Jo

In this video, you will learn the simple & beautiful chant Saraswati by the beloved duo of Edo & Jo, which Seth teaches in honor of Saraswati Puja
Saraswati is the goddess of education, language, music…. This year, Saraswati Puja coincides with the coming of spring in certain regions including India
The lesson includes 3 parts & simple chord shapes with the challenge resulting from a “pick up” at the start of the first two parts
Practice suggestions: (1) First, listen to the reference recording, to take in the melody (2) Play along with the reference recording to integrate (3) Practice! Practice! Practice!

162. The Ecstatic Anandambudhi Vardhanam

Seth teaches 2 of the 3 parts of the very beautiful Maha Mantra melody Anandambudhi Vardhanam (aka Ecstatic Maha Mantra) by Bada Haridas
Spiritual happiness is anandambudhi-vardhanam or the ocean of happiness which increases… Material ocean is stagnant, but the spiritual ocean is dynamic
Seth teaches a syncopation option to emphasize the offbeat, “pushing” the beat a bit early for a different effect found in other music genres like jazz, ska
Practice suggestions: (1) Listen to the reference recording which is in a different key (2) Once you have mastered the basic version, try the syncopation option (3) Advanced challenge: Relisten to final kirtan, identify Part 3 chords & notate

161. Radhe Govinda Radhe; Basic & Enhanced

Learn a favorite chant Radhe Govinda Radhe, a chant taught in 3 parts, starting with a basic chord version & adding enhancements
Students ready for complexity will add interest with melody notes, rhythm with tapping, filler notes between chords, reggae beat – to embellish the basic version
Listen as students team together to offer a virtual 3-part kirtan in a lovely offering to the community
Practice suggestions: (1) Review video playback to learn melody & melody notes (2) Video Library #92, 132, 152, also feature a lesson on Radhe Govinda Radhe (3) Review enhancement techniques to create your own version of this chant!

160. Radhika Das’ Sita Ram, Parts 1 - 3

Radhika Das is back in NYC! With Seth accompanying him at kirtans & workshops, it’s a perfect time to learn/review Radhika Das’ version of Sita Ram
Seth teaches a basic chord version to start & further simplifies chords as an option for newer students to quickly make progress in playing this lovely kirtan
Students ready to introduce melody will benefit from a review of video playback during practice to learn notes & then work to combine with chords for interest
Practice suggestions: (1) Review video playback at varying speeds to view & learn melody notes (2) Video Library #112 & 113 also feature a lesson on this version of Sita Ram (3) Play along with the Radhika Das reference recording (same key!)

159. Folk Maha Mantra Part 1; Cool & Funky

Learn a cool, funky, beautiful chant – Folk Maha Mantra, Part 1 – as another melodic option to share the Maha Mantra chant in kirtan
Seth teaches the basic chord version as a starting point for newer students interested in quickly coming up to speed with a new chant to play & share
Students seeking a challenge should review the video (varying playback speed) to determine melody notes; which can be layered with chords to add interest
Practice suggestions: (1) Review video at a slower speed to learn melody notes (2) Review Video Library #82 & 95, also featuring a Folk Maha Mantra, Part 1 lesson (3) Listen to Radhika Das reference recording to inform melody

158. Sita Ram, Simple & Beautiful

CONTENTS:

Learn a traditional chant, Sita Ram, as an essential addition to your kirtan music repertoire
Seth teaches a basic chord version of this favorite, in 2 parts, for newer students to quickly master & confidently share in kirtan
More advanced students will benefit from tips to embellish, including: melody notes, scale notes, rhythmic tapping or comping – to add interest & complexity
Practice suggestions: (1) Use a metronome as you practice EVERY DAY (2) Look for opportunities with other chants to use scale notes connecting G chord to F chord (3) Review Video Library #77, also featuring a Sita Ram lesson

157. A Special Year-End Community Showcase

CONTENTS:

Enjoy a special 2024 year-end class to share in celebration of the Sangha & Video Library Community!
Seth shares appreciations to community members, class participants & video library members alike, who bring their love of kirtan together to form a unique harmonium learning experience
Listen as “live” students showcase their skills in short kirtans, contributing to the occasion, as the group shares feedback to support future practice & learning
Practice suggestions: (1) Consider your own 2024 kirtan & harmonium learning reflections & accomplishments (2) What was your favorite kirtan chant of the year? Your least favorite? Learn them both! (3) What are your 2025 kirtan & harmonium learning goals & sharing aspirations?

156. Manipuri Maha Mantra; Chords & Melody

Seth leads another something-for-everyone lesson, teaching 2 versions (easy & challenging) of the traditional favorite Manipuri Maha Mantra
The easier version is a beautifully simple progression through 4 different chord shapes, held for 8 beats each, while chanting the Maha Mantra
A more challenging version focuses on melody notes to support the mantra, punctuated by a chord in each system
Seth offers tips to further advance interest with a segment on retaining harmony with melody & using a tapping technique - similar to cartals - for added rhythm
Practice suggestions: (1) Review Video Library #68, 69 - also featuring lessons related to Manipuri Maha Mantra (2) Practice with a metronome while holding chords in the easy version (8 beats) to ensure consistency during extended hold

155. Śiva Śiva Mahadeva, Harmony & Melody

Seth kicks off an integration & sharing session that leads to a review of Śiva Śiva Mahadeva, emerging from a student share
The lesson offers 3-options for crafting your own version of Śiva Śiva Mahadeva: as written combining harmony & melody, melody line only, chords only
Don’t miss Q&A discussions related to memorization, particularly an approach to memorize fingering for a section of a chant
Practice suggestions: (1) Review Video Library #49, 50, 76, 122 also featuring Śiva Śiva Mahadeva (2) Practice with a metronome everyday (3) Memorize sections of the chant using the approach discussed in Chapter 12

154. Chord Structure, Integral Yoga’s Hari Om

Seth dives deep into music theory – first reviewing basic chord structure - in response to a student inquiry into Major 7 chords
For music theory aficionados, the Major 7 adds an effect of tension needing to resolve (meanwhile beginner students will benefit from review of chord structure)
For all students, Seth teaches the simple Integral Yoga chant Hari Om that is embedded with a mesmerizing A-note drone
Practice suggestions: (1) Review Video Library #7, 36 featuring additional lessons on basic chord structure & chord triads (2) Practice Hari Om with & without the optional G natural notated in Lines 3 & 4 noticing the difference

153. Radhe Radhe Govinda Radhe, Tapping Focus

Keeping with a theme of going deeper…. Learn a classic &/or explore options to elaborate for interest – It is all possible with Radhe Radhe Govinda Radhe!
The chant is taught in 2 parts; notated chords & built-in melody notes. Students go deeper to focus on rhythmic tapping techniques & adapting melody, chords
For the practiced; Seth teaches a segment using notation to visualize complex tapping rhythms. Apply this technique to enhance & support your learning!
Practice suggestions: (1) Practice rhythmic tapping & notating to “visualize” (2) Review Video Library #136 also featuring this chant (3). Options to go deep include: changing key, memorize, tapping – no one should ever be bored!

152. Radhe Govinda Radhe, Going Deeper

Learn a favorite -- both perfect as an introductory chant due to its simple mantra & also the basis for many a rip-roaring kirtan -- Radhe Govinda Radhe!
The piece is taught in 3 parts notated with chords & students are asked to go deeper with rhythmic tapping, transcribing melody, combining melody & chords
Don’t miss Seth’s comments on how to go deeper with any chant in order to define & refine your own repertoire, while developing skills as a musician
Practice suggestions: (1) Practice rhythmic tapping & alternative 8th note techniques (2) Transcribe melody notes & practice incorporating with chords (3) Review Video Library #92 & #132 which also feature this chant

151. Hare Krishna Ananta, Accepting Dissonance

Learn a maha mantra melody often heard at NYC’s Bhakti Center, popularized by energetic kirtan artist Ananta
The chant is taught in two parts, notated with melody & chords; chords which are not fully designated leaving space for creative interpretation
Seth reviews the concept of musical dissonance; which while perhaps initially trying – may be a style & sound you come to appreciate
Practice suggestions: (1) Play both versions of Line 3 & decide your preference (2) Practice with & without dissonance, noticing any reactions to tension/release (3) Memorize & play with a metronome to increase steadiness & speed

150. Bellowing Techniques; Student Showcase

Watch & listen as Seth teaches advanced bellowing techniques recommended for smooth sound & answers questions on specific bellowing issues or approach
Readiness to share kirtan is a recurring theme in this lesson - by having memorized pieces in your repertoire or adjusting quickly to a different instrument
This special video concludes with a showcase of 3 student shares & group appreciations - from which lessons & learning spontaneously evolve!
Practice suggestions: (1) Develop your own bellowing practice regimen incorporating chord progressions, Circle of Fifths, etc. (2) Try playing or practicing with different harmoniums to adjust bellowing techniques on the fly

149. Govinda Damodara Madhaveti for Kartik

For Kartik, learn Govinda Damodara Madhaveti - a sweet chant of Mother Yashoda’s pastimes with young Krishna who shows he can be bound only by love
This traditional version of the chant is presented in ¾ meter & taught using a unique student exercise to identify chords & notate - given melody notes to start
You may recognize the mantra from the chorus of Jahnavi Harrison & Gaura Vani’s Like a River or hear a melody akin to the traditional Sri Krishna Govinda
Practice suggestions: (1) Follow along with the student exercise & work to identify chords (2) Try to notate chords for your version for reference (3) Practice options for fingering & notate, as well

148. Narayani Ma, Ma Durga: Celebrating Navrati

In celebration of Navratri, learn to play a lovely chant - honoring the goddess Ma Durga & others - Narayani Ma by Edo & Jo
The chant is presented in 3 parts with finger substitution & lift-position-switch applied to smoothly move through chord transitions & between the 3 sections
Seth also shares tips for structuring another Ma Durga kirtan (by Krishna Das); offering a real time comparison of call & response versus singing through…
Practice suggestions: (1) Listen to the Spotify Edo & Jo reference recording to guide practice (2) Experiment with adding tapping & melody note embellishments (3) Share practice on Facebook Harmonium Community Page

147. Maha Mantra Vindravan Mellows (Side A)

In this video, learn the stunningly beautiful Maha Mantra Vindravan Mellows (Side A) from Aindra Das - founder of Vindravan’s famous 24-hour kirtan
This haunting minor key Maha Mantra has a tricky 2nd part melody that is mastered with practice… Focus on the melody or add an optional “drone” effect
Seth also shares tips for kirtan leadership; including: playing with other musicians, mantra selection, introducing English words to mantra as an alternative Sanskrit
Practice suggestions: (1) Listen to reference recordings on Spotify (13:16) or Seth’s Soundcloud, 9/13/24 (27:00) (2) Try the “drone” effect, adding secondary notes for fuller sound (3) Share practice on Facebook Harmonium Community Page

146. Jai Sri Krishna, The Mayapuris

Learn to play the spirited closing theme song from the Wisdom of the Sages podcast - Jai Sri Krishna – by The Mayapuris
This energetic, minor key chant (Phrygian scale) is taught in 3 melody-focused sections with an optional drone to support the melody
Notice the syncopation element introduced in Part 2; which creates a tricky rhythm for transitions & may require some work to establish muscle memory
Practice suggestions: (1) Use a metronome 60 BPM, working up to 116 BPM - like reference recording (2) Experiment with adding embellishments or chord notes (3) Listen to recording for vocals, learn scale & identify notes for embellishments

145. Sri Argala Stotram, A Goddess Chant

In this video, Seth teaches Sri Argala Stotram, a Goddess chant, by Krishna Das incorporating English verses (by rock band Foreigner) in addition to Sanskrit
Seth teaches the chorus, working with 4 basic chords, presenting an option for the student to learn the introduction & additional verses on their own
Seth demonstrates simple embellishments used by Krishna Das & used to link common chord progressions – to add interest & dimension to your kirtan
Practice suggestions: (1) Practice KD-style embellishments to connect chords (2) Learn additional verses - work with 4 basic chords, reference recording to develop (3) Practice transposition skills – moving from key of C - to B, D flat

144. Learning from Sharing; Student Showcase

Enjoy this special episode - showcasing 6 student shares & group appreciations - from which lessons spontaneously emerge on a variety of topics!
Seth crafts an impromptu, interactive lesson from Lokah Samastah to identify chords by ear. We all practice ear development & learn a sweet new melody…
Other learning topics include: connecting notes, opening/closing chants, bringing harmonium to yoga asana class, structured versus flowing rhythm
Practice suggestions: (1) Develop your ear training to identify chords to offering: Govinda Hare (2) Practice notating chords from offering: Lokah Samastah (3) Relisten to group appreciations for lessons emerging from feedback

143. Gopala Lullaby; Mix Melody & Chords

Seth teaches the soft, sweet sounds of Jai Uttal’s Gopala Lullaby in the key of D Major, with an emphasis on understanding scales to inform melody notes
The lesson is broken down into 3 parts (2 differently melodied 1st sections & a 2nd section) – a tricky melody with simple chords – using mostly the black keys
Seth reflects that this this piece is slightly amorphous without a strong sense of rhythm (similar to a lullaby)
Practice suggestions: (1) Learn the D Major scale to understand notes from which the melody draws (2) Play with the Jai Uttal reference recording; which is in the same key (3) Practice all different key scales regularly, as a discipline

142. Shri Krishna Sharanam Mama, B Major

Learn the sweet Shri Krishna Sharanam Mama chant in the key of B Major to challenge your fingers with chord shapes including black keys
Seth teaches a “key” lesson on fluid wrist movement & finger placement – with techniques to improve efficiency & ergonomics for any chant
This lesson features options to complexify & add interest with embellishments - “push”, repeating figures to bridge chords, adding sequences, rhythmic tapping
Practice suggestions: (1) Learn the B Major scale to understand keyboard position & recognize the “palette” for chords & melody (2) Add embellishments, noticing impact to finger position (3) Use transposition skills to play in other keys

141. Going Double-Deep, 2 Favorite Chants

This lesson dives deep with 2 prior chants – breaking down leading Jay Jay Radha Ramana Haribol & completing final sections of Radharani Maha Mantra
Seth teaches techniques for leading & teaching Jay Jay Radha Ramana Haribol mantra in a kirtan setting; responding to a student question
A next-level lesson on inventiveness in fingering choices, is highlighted, with study of the final sections of Radharani Maha Mantra chant
Practice suggestions: (1) Revisit Jay Jay Radha Ramana Haribol in Video #83,138 for an intro (2) Finish study of Radharani Maha Mantra (Video #140, Parts 1-2) with an in-depth lesson on Parts 3-4; completing the 4-part chant

140. Radharani Maha Mantra (Parts 1, 2)

Join Seth – live from Berlin – as he teaches the beautiful Radharani Maha Mantra melody, taught in 3 sections
This favorite chant is presented in A major; which involves fingering challenges using the black keys
Seth adds a layer of complexity to the basic chord version with melody notes as interest, providing options for a more advanced version
Practice suggestions: (1) Practice the A major scale, which is the basis for Section 2’s descending melody (2) Work on the challenging black key, double finger substitution (Line 4, Section 2) to build muscle memory & skill

139. Govinda Damodara; Decorated

Learn the sweet Govinda Damodara (by Jahnavi Harrison & Gaura Vani), as Seth teaches this unique harmonium version – in a class recorded live from Berlin
Then… add another layer to your learning, identifying melody notes by ear to embellish chords & apply common “fillers” to decorate the spaces between
Put it all together with a fingering strategy & finger substitutions for economy of play - with a solid foundation for slow methodic play or a faster tempo
Practice suggestions: (1) Review Video Library #9, 60 & 81, which also teach this chant (2) Practice Seth’s tips for finger substitution as a foundational skill (3) Practice embellishments as Seth teaches for a more advanced version

138. The Melodic Jay Jay Radha Ramana Haribol

Learn the melody-focused, multi-part Jay Jay Radha Ramana Haribol, a traditional bhajan played without chords & presented in 4 sections for practice
Start slowly to master fingering & increase your playing speed as you memorize the simple melodies of each section
Build on this melodic foundation to introduce interest with playing techniques - tapping, trilling, droning
Practice suggestions: (1) Review Video Library #88, Minor Scales, Jay Jay Radha Ramana Haribol, for another lesson on this chant (2) Practice Seth’s tips for memorization (3) Add interest with Seth’s ideas or try your own creative elements

137. Kirtan-Lead Confidence, Saraswati

Join the group in a learning lab as Seth addresses challenges: transitioning chants, performance prep, memorization tips, keeping rhythm & bellowing
Find something for everyone & all levels in these rich practice tips, preparation techniques & daily exercises to develop harmonium skills & kirtan lead confidence
Finally, transition to a practical application of these topics as you learn or revisit the amazing chant Saraswati by Krishna Das
Practice suggestions: (1) Use a metronome to develop your innate sense of rhythm & consistency (2) Practice Seth’s memorization tips in Chapter 5 (3) Work with Seth’s exercise to disconnect bellowing from rhythm in Chapter 7

136. Rhythm Play, Radhe Radhe Govinda Radhe

Learn the classic Radhe Radhe Govinda Radhe – going deeper by experimenting with rhythm & practicing tempo changes in our real-time learning lab
Seth responds to student questions – including one on kirtan leadership by using an entertaining & educational analogy of kirtan as driving a car…. Don’t miss!
Seth teaches the art of speeding up & slowing down tempo using techniques like simple tapping on the downbeat, to communicate & convey tempo change
Practice suggestions: (1) Use a metronome to measure tempo & tempo changes (2) Practice both options for Part II, noting Line 4 offers a more challenging option (3) Memorize this kirtan & be prepared to lead!

135. Structuring & Facilitating Kirtan: A Discussion

Listen to an informative discussion on structuring kirtan, facilitating engagement & finding your style as a kirtan leader - with Seth & community
Go deep on topics: planning for kirtan sessions of varying lengths, working with other musicians, sustaining the voice, practicing in preparation to lead
Seth shares tips on selecting kirtans for different audiences & supporting the meditative aspects of kirtan with tactics to elongate the piece
Practice suggestions: (1) Practice communicating with other musicians at home - using verbal & non-verbal cues (2) Learn melodies without chords for favorite kirtan pieces (3) Practice new music at home, bring accomplished pieces to kirtan

134. All One (Hare Krishna), Multi-Part Kirtan

Learn all 3 parts of All One (Hare Krishna) by Krishna Das, adding this popular work to your multipart kirtan repertoire
Follow each kirtan section, as Seth teaches the flow through the 3 parts of this piece; joining students & practicing with the group to reinforce the melody
Watch Seth teach Krishna Das-style embellishment techniques, demonstrating notes to connect chords -- choose from options to style your own unique version
Practice suggestions: (1) Listen to the Krishna Das reference recording (2) Note: Parts 1, 3 are played with 2 different melodies, same chord progression (3) Introduce tapping, embellishments, chord notes for interest & complexity

133. Kirtan Flow, 3-Part Maha Mantra

Learn all 3 parts of the 3-Part Maha Mantra (popularized as the Reunion Maha Mantra by Sri Prahalad) as a model for structuring a multipart kirtan
Sight read from chord notation, watch melody notes identified on the “keyboard cam” & hear Seth’s demonstration of a common kirtan flow (Parts) 1, 2, 1, 2, 3, 1
Don’t miss Seth’s responses to student questions: harmonium tuning, transposing tips, goal of kirtan & different styles; e.g., chords, melody or a blending of both
Practice suggestions: (1) Run-through the kirtan flow 1, 2, 1, 2, 3, 1 & play with speed in Part 3 (2) Introduce rhythmic rolling or feathering techniques for interest (3) Try Seth’s transposing tips; singing aloud to find your sweet spot

132. Radhe Govinda Radhe, Hearing the Melody

Revisit the upbeat Radhe Govinda Radhe, presented in chord notation as a basis to “go deep” & learn all aspects of this traditional chant
Develop your ear – as Seth leads an exercise to help students identify & name melody notes while he plays on the video “keyboard cam”
Create your own version of Radhe Govinda Radhe – focusing on chords, melody or weaving together both – reflecting your unique style
Practice suggestions: (1) Introduce comping or rhythmic tapping techniques (2) Introduce speed & learn to play RGR very FAST (3) Transpose RGR to a different key & do it all over again!

131. Saraswati, Developing the Ear

Learn the beloved Saraswati chant (Krishna Das / Boris Grebenschikov), presented in chord notation as a foundation to add new levels of interest
Build on the simple chord version; developing the ear to identify melody notes through recall of the reference version & listening to Seth sing or play
Practice your own version of Saraswati – focusing on chords, melody or overlay of both - revisiting rhythmic tapping techniques - to create a unique style
Practice suggestions: (1) Practice chords only, melody only & overlay versions (2) Introduce comping or rhythmic tapping techniques (3) Consider transposing Saraswati to a different key (4) Identify opportunities to fill out the chords

130. Radha Rani (Part III), Rhythmic Tapping

Complete your learning of Radha Rani (Jai Uttal) as Seth teaches Part III, the final section of this ecstatic chant
Learn a new playing technique for rhythm & accompaniment - comping or rhythmic tapping - using the Prabhupad Maha Mantra as a basis for practice
Master this fundamental accompaniment technique; which is important when playing with others as it imparts rhythmic consistency
Practice suggestions: (1) Invest 10 minutes a day practicing rhythmic tapping without singing, slowly (2) Once you are mastering, then add the singing element

129. Radha Rani (Parts I, II), Ear Training

In this class, learn to play the traditional & ecstatic chant, Radha Rani, as performed by Jai Uttal
Seth instills ear training with an exercise to identify melody notes. These are ultimately “revealed” with notation & fingering displays via the “keyboard cam”
As a follow-up to the lesson; Seth reviews Parts I, II & prepares students to identify the melody & complete notation for Part III on their own
Practice suggestions: (1) Listen to the reference recording by Jai Uttal (2) Using ear training, identify melody notes for Part III & document on the notation sheet

128. Shyama Chapin’s Hanuman Bolo (Parts III, IV)

In this lesson; Seth reviews Parts I, II & teaches the transition to Parts III, IV with an emphasis on ear training to hear new chords & identify a new key
Seth teaches a basic overview of music theory related to modulation & chords
Practice suggestions: (1) Listen to the reference recording by Shyama Chapin & play along with it (2) Rewatch Video Library #127 for more specific focus on Parts I, II

127. Shyama Chapin’s Hanuman Bolo (Parts I, II)

Learn the deceptively simple chant, Hanuman Bolo, by talented singer-songwriter Shyama Chapin of Brooklyn NY
Seth teaches chords & melody in the key of A; interspersing music theory with discussion of harmonic rhythm & its importance in transcribing &/or composing
This arrangement is presented in 2 Parts, with additional sections to be covered in a later lesson
Practice suggestions: (1) Listen to the reference recording to instill a strong connection with the melody & chord changes, particularly in Part 2 (2) Transcribe chant into a higher key, if more comfortable for your unique vocal range

126. Sita Ram, I Love You

Learn a heartfelt chant by The Hanuman, comprised of Sanskrit & English verses, with a melody encompassing a wide & potentially challenging vocal range
Seth teaches transposing to a lower key, which is an important skill for musicians in responding to vocal challenges – because everyone’s voice is different!
This arrangement is presented in three sections - the first two are in Sanskrit & the third is in English
Practice suggestions: (1) Listen to & play along with the reference recording to learn the roadmap of the arrangement (2) Consider transposing to a lower or more comfortable key if the vocals in the 3rd section present a voice challenge

125. Sri Krishna Govinda, Kirtan Planning

Learn a popular melody for Sri Krishna Govinda, with a basic chord option & an added complexity version, for advanced students, including melody lines
This arrangement is presented in 2 sections. The meaning of the mantra is reviewed in-depth with students adding to the discussion
Section 1 finger substitutions are reviewed slowly & specifically with the aid of the “keyboard cam” for visual learning
Practice suggestions: (1) For kirtan planning tips, Seth responds to a student question (2) If adding melody lines, note changes required for fingering efficiencies (3) Refer to Video Library #48, 59, 94, 120 for additional lessons

124. David Newman’s Resting in Rasa

Learn another David Newman chant, Resting in Rasa, continuing a focus on this artist & his beautiful devotional compositions
His arrangement is taught in a roadmap of 4 sections, with this lesson covering A, B, C, D - as well as transitional variations to link the sections
Chords present a fingering challenge & opportunity to emphasize black keys (key of B) with chord position & finger movements taught via the “keyboard cam”
Practice suggestions: (1) Listen to the David Newman reference recording to reinforce melody (2) Study the mapping of this chant to understand the different sections & flow (3) Refer to Video Library #87 for an earlier lesson

123. David Newman’s He Maha Lakshmi

Seth returns from travels to India with a special lesson on He Maha Lakshmi, honoring artist David Newman who is struggling with health issues
This beautiful goddess chant is taught in 3 sections with this lesson focusing on Parts 1, 2
Challenging finger substitutions, chord fingering are taught - slowly - supported by the “keyboard cam” for student’s understanding & to inform further practice

Practice suggestions: (1) Run-through hand positioning & fingering for optimal position (2) Interpret chord symbols to add additional notes for complexity & interest (3) Refer to Video Library #87 for additional David Newman content

122. Student Lab: Shiva Shiva Mahadeva

121. Student Lab: Divine Maha Mantra

Ferdie & Jen guide the group through a lesson on the Divine Maha Mantra, a beloved melody most recently accredited to Jahnavi Harrison
Chapters are drawn from Seth’s Video Library content & presented as a new lesson with emphasis on starting simple & building for added interest
Students contribute to learning with input on music theory (key identification, scale notes, relative major), practicing to share unique versions of this chant
Practice suggestions: (1) Listen to Jahnavi’s reference recording (2) Play with additional melody notes to enhance & create your own version (3) Review Video Library #51, #74 for additional information

120. Student Lab: Sri Krishna Govinda

Ferdie & Jen facilitate teaching Sri Krishna Govinda, drawing chapters from video library content & weaving material together to create a new lesson
There is something for every level student, starting with a simple chant version – building toward versions with added complexity & embellishment
Students add to the effort by playing unique versions of this chant & others, to end with a joyful offering of kirtan
Practice suggestions: (1) After learning the simple version, memorize as a foundation to enhance & consider transposing to a different key (2) To add complexity; use melody notes, tapping, different chord inversions. Get creative!

119. Om Ajñana, Hare Krishna Part 3

Seth opens class with a BONUS lesson sharing Mangalacharan (Om Ajñana), an opening prayer offering respects & obeisances to our spiritual teachers
AND, in follow-up to the last class, Seth teaches a double-time 3rd part to the Maha Mantra melody, Tina Malia’s Hare Krishna - to build intensity in kirtan
Review simple transposing, using a method of counting steps between notes & consider the importance of learning scales in facilitating transposition efforts
Practice suggestions: (1) Memorize Mangalacharan in C & transpose into a different key (2) Transpose Hare Krishna into a different key & practice the 3rd part with double-time mantra, working between Parts 1, 2, 3

118. Tina Malia’s Hare Krishna, Parts 1 & 2

In two parts, Seth teaches a Maha Mantra melody by Tina Malia, with a melancholy feel, composed in the D pentatonic scale (5 notes in the melody)
Listen to a heartfelt discussion on kirtan leadership anxiety; sharing real-world coping techniques for breathing, practice & preparation using envisioning to focus on how best to serve (versus focus on self)
Practice suggestions: (1) Listen to the Tina Malia reference recording (2) Practice breathing & envisioning techniques, as well as ensure preparation, to help with performance anxiety concerns

117. Intervals, Om Gam Ganapataye Namaha

Seth takes the Sangha on an applied music theory journey, teaching with the keyboard as a visual & exploring the important major/minor intervals
Learn this foundational keyboard instrument concept; working toward a lesson on the strong Perfect Fifth interval for harmonium
With this toolkit, play the popular Om Gam Ganapataye Namaha chant by Edo & Jo – celebrating Ganesha, half man-elephant, known for removing obstacles
Practice suggestions: (1) Listen to Edo & Jo reference recording (2) Learn to play the notated version in b minor & transpose into different keys (3) See Chapter 12 for examples of added complexity (melody embellishments, tapping, etc.)

116. Narayani Ma, A Goddess Chant

Learn to play Narayani Ma - a sweet Goddess chant - encompassing a multitude of divine feminine names, originally recorded by Edo & Jo
The chant is taught in 3 sections, smoothly transitioning over 4 verses; each naming various goddesses & followed by a common refrain
Study the keyboard camera to hear & see Seth adding melody, embellishments & other complexity options as a challenge for more advanced students
Practice suggestions: (1) Listen to the Edo & Jo reference recording (2) Learn to play the chord version & then identify melody notes (3) Study Chapter 18 for a recap of all sections & to review embellishments for adding interest & complexity

115. Gopala Gopala Devakinandana Gopala

Learn to play this popular melody & lovely chant in the mood of sweetness, calling out to young Krishna as a Vrindavan cowherd boy & his birthmother Devaki
Seth starts out with simple chords for all & then demonstrates adding melody notes for musical interest as a lesson for students desiring a more challenging piece
Watch the keyboard camera, to learn as Seth & all practice finger substitution strategies to move between chant sections & fingering to facilitate melody notes
Practice suggestions: (1) Learn to play the basic chant first & then review options for adding melody notes to create your own version (2) Listen to Chapter 12 (Tips for Harmonium Set Up, Position, Bellowing) noticing your own habits as you play

114. Simply Sweet: Sita Ram Jay Hanuman

Continuing the theme of Sita Ram chants, Seth teaches the simple & oh-so-sweet Sita Ram Jay Hanuman – a basic chord version perfect for beginner-level students with room for experienced players to quickly add complexity & interest
Watch as Seth & the group identify chant melody notes by reviewing the C-scale & listening for scale movement or “skips” in note progression to inform
Enjoy a music theory discussion of diatonic movement & the importance of scale practice in training the ear to more easily identify melodies
Practice suggestions: (1) Review the Video Library (#s 36, 61, 72) for instruction on building chord triads (2) Add scale practice as a discipline to improve melody identification by ear (3) Create your own version of the chant by embellishing - filling in chords, adding melody notes, tapping, etc.

113. Radhika Das’ Sita Ram, Part 3

Learn to play the final, up-tempo Part 3 of Radhika Das’ Sita Ram, with options for all levels of harmonium experience
Hear Seth answer questions on fingering with strategies for transitions between parts & highlighting considerations for adding melody notes
Seth recaps Parts 1 & 2, working with the group to develop notation for Part 3; which borrows musically from earlier sections - simplified, to support faster tempo
Practice suggestions: (1) Continue practicing Parts 1 & 2, adding Part 3 at a faster pace (2) Use Radhika Das’ recording as a reference for style (3) Explore adding different variations of melody & consider tapping techniques for added interest

112. Radhika Das’ Sita Ram, Parts 1 & 2

Learn to play Radhika Das’ version of Sita Ram, a meditative melody with variations fit for all levels of harmonium ability – beginner to advanced (with added melody)
Starting with a simple chord-only version, Seth teaches this chant in 2 parts with demonstrations of chord placement, finger substitutions & melody notes to enhance
Hear Seth’s guidance on tempo variation, building speed in kirtan & signaling to other musicians with tapping, etc. for effective kirtan leadership
Practice suggestions: (1) Listen to Seth’s demos & Radhika Das’ reference recording to absorb the melody for both parts (2) Beginners may want to consider a simpler chord placement taught in Chapter 12 (3) More practiced students should work toward adding melody notes between the chords for musical interest

111. A Special Year-End Community Showcase

Enjoy a special 2023 year-end class to share in celebration of the Sangha & Video Library Community!
Seth shares appreciations to community members, class participants & video library members alike, who bring their love of kirtan together to form a unique harmonium learning experience
Listen as “live” students showcase their skills in short kirtans, contributing to the occasion, as the group shares feedback to support future practice & learning

110. Ong Namo, A Sweet Kundalini Chant

Seth teaches Ong Namo, a simple & sweet Kundalini chant by Snatam Kaur in the Gurmukhi language - a treat for beginners & more advanced students alike
Start with the notated chords & learn more advanced chord options with discussion & demonstration of the lovely, dissonant F Major 7 chord
Learn techniques for playing slow… rhythmically, including use of a metronome or the internal practice of subdividing the beat
Practice suggestions: (1) Listen to Snatam Kaur reference recording for a melody that can be added as a 3rd section (2) For year-end, review music you’ve learned this year. Revisit to refine with memorization, tightening rhythm with a metronome, etc. Go deep versus continually adding something new!

109. Hara Hara Mahadeva by Krishna Das

Learn Hara Hara Mahadeva, a version by Krishna Das & Shiva chant referencing the mystical city of Varanasi located along the auspicious Ganges River in India
Hear Seth review the translation & meaning of the verses to add context to the music
This chant is taught in 2 parts; both focusing on identification of chords, syncopated chord changes & finger substitutions
Practice suggestions: (1) To take this chant to the next level, flush out the chords by adding additional chord notes (2) Try tapping to add musical interest

108. Mangalacharan (Om Ajñana) Invocation

Learn the Mangalacharan (Om Ajñana) Invocation & a melody by Karnamrita Dasi that can be applied to this prayer & other chants; e.g., Maha Mantra
Hear & speak Sanskrit pronunciation of the Om Ajñana prayer, as you master a simple melody incorporating unstructured rhythm & a supporting drone note
Practice suggestions: (1) Replay the video to practice Om Ajñana Sanskrit pronunciation (2) Play the Om Ajñana melody while chanting another mantra or prayer, e.g., Maha Mantra (3) Exercise creativity in developing your own melody for a favorite prayer or mantra

107. Devi Puja, A Fluid Chant in 3/4 Time

Practice a new chant with a free-flowing harmonium instrumental & mantra - Devi Puja by Krishna Das, taught in 3 sections
Follow along with group exercises to develop the important skill of site reading for musicians or “getting off book”
Hear instruction on versions for different levels; e.g., a simpler version for beginners & incorporation of tapping to emphasize rhythm for more advanced students
Practice suggestions: (1) Study video instruction on fingering, finger substitutions to work toward more seamless transitions (2) After learning final section chords, listen to the Krishna Das recording to practice overlaying & singing additional verses

106. Radhe Radhe Govinda Govinda, Part 2

Learn the 2nd part of Raghunath Cappo’s inspired Radhe Radhe Govinda Govinda, combining the minor-toned Part 1 with a brighter Part 2 melody & harmony
View an iterative process: to hear & notate - engaging problem-solving to decide from multiple chord voicing paths & fingering options - completing the chant
Watch Seth “speak” the rhythm & challenging syncopation of this melody, while overlaying chords & presenting an option to integrate melody & harmony
Practice suggestions: (1) Experiment with alternative chord voicing & fingering options (2) For more advanced students, work to add a melody element along with chord harmony

105. Radhe Radhe Govinda Govinda, Part 1

Learn Raghunath Cappo’s powerful rendition of Radhe Radhe Govinda Govinda, Part 1 – a different & even dark-toned chant played in a B minor key
Watch Seth notate and determine fingering options, in real time, as he shares this newly learned chant based on student input and videos
Gain insight into Seth’s process for notating with the keyboard camera view. Watch Seth work through melody & chords for Part 2, then learn to play on your own
Practice suggestions: (1) Watch Seth play the “brighter” RRGG Part 2 & practice notating or playing from video to complete the chant (2) Transpose both parts to a different key that suits your voice

104. Shri Krishna Sharanam Mama

Learn Shri Krishna Sharanam Mama, a simple chant of seeking shelter or protection from God or the divine
Identify the key of the chant (Hint: Scale includes chords with sharps or black notes) & compare to the more commonly studied C Major scale
Listen & watch Seth play to teach fingering, chord shapes & tips for practice to advance students’ play of this lovely offering
Practice suggestions: (1) Build out additional melody notes (2) Playback video to learn options for interspersing melody & elaborating the basic chant for interest (3) Transpose to key of C, by moving up a ½ step or try another key that suits your voice

103. Ra Ma Da Sa, A Healing Chant

Learn Ra Ma Da Sa, a Kundalini healing chant in the Gurmukhi language, with short monosyllabic words to the mantra
Listen & watch Seth play slowly to teach fingering, highlighting melodies of the chant’s meditative chord progression
Hear suggestions for developing bellowing technique & practice an exercise to hone your skills
Practice suggestions: (1) Try bellowing practice demonstrated in video (2) Listen to Snatam Kaur’s version and play chant in 3|4 time signature

102. Om Namo Bhagavate, Ear Training

Learn Om Namo Bhagavate, a melody by Shyama Chapin, appreciating the characteristics of Bhagavan
Train your ear to pay attention to notes & chant syllable alignment, by focusing the mind & using techniques of active listening
Approach ear training as a skill development effort, requiring work & practice to master
Practice suggestions: Challenge yourself to focus & pay attention. Notice the syllable of the note change. Repeat less & pay attention, becoming more efficient in learning

101. Har Har Waheguru, Layers of Melody

Learn the simple, grounding & hauntingly beautiful chant Har Har Waheguru Meditation by Nirinjan Kaur
Appreciate the artist’s composition & approach to layering harmonizing vocals with chords; adding interest, as well as ethereal & dissonant qualities to this meditation
Seth teaches that “less is more” with this composition, which is melodically efficient and perfect to accompany a yoga class
Practice suggestion: Relisten to this content-rich video to hear the nuance of layered melodies and delve more into music theory

100. A Special Class, Celebrating a Milestone

Watch this special class to share in celebration of an important milestone – the 100th Video Library recording!
Hear Seth’s appreciations to members of the Sangha & Video Library Community, who bring their energy & enthusiasm together to form a unique learning & sharing experience
Listen as “live” students showcase their skills in short kirtans, contributing to the occasion

99. Bernie’s Chalisa Melody, Two Ways

In this follow-up to the Hanuman Chalisa Invocation, students are introduced to another melody - Bernie’s Chalisa - that can be vocalized with either the Invocation or Sita Ram chant
Listen to Seth play this engaging melody while singing both Sita Ram and the Hanuman Chalisa Invocation, teaching both versions as options depending on interest
Beginner students may focus primarily on Section 1, while more practiced students will be challenged by new chords found in Section 2
Practice suggestions: (1) Commit Invocation Lines 5-8 to memory, speaking first before attempting to sing (2) Learn Line 9 of Invocation and apply where musically appropriate (3) Listen to Krishna Das version (Bernie’s Chalisa, Flow of Grace) as a reference

98. Hanuman Chalisa Invocation, Sita Ram

Be inspired by stories of Hanuman & learn to speak the words of a beautiful invocation preceding the 40 verses of the Hanuman Chalisa
Listen to Seth sing the Hanuman Chalisa Invocation, overlaying & playing to the melody of a familiar Sita Ram chant
Challenge yourself to identify the chord changes aligned to Invocation words without aid of a chant sheet, exercising your ear as part of a practice to memorize
Practice suggestions: (1) Commit Invocation Lines 1-4 to memory; learn pronunciation & speak first before attempting to sing (2) Print or write the words for practice daily to help integrate singing & playing (3) Listen to Krishna Das’ version (Good Ole Chalisa from Flow of Grace) to support learning

97. All One Maha Mantra, Part 2

Continue learning the “All One” Maha Mantra, integrating all sections of this stirring chant with simple chords, various melodies and voice
Seth recaps notation to reinforce Video #96 learning and demonstrates practice with a metronome to maintain rhythm
Watch as Seth breaks down the “in between” connector notes, to fill the space between chords, and add a challenging dimension for more advanced students
Practice suggestions: (1) Listen to the Krishna Das version (2) Rewatch Video #96 (3) Watch Video Library #3, also featuring this chant

96. All One Maha Mantra, Part 1

Learn “All One” by Krishna Das, a well-known and popular version of the many Maha Mantra melodies – highlighting various melody lines in Part 1
Seth reviews melody notations for the 3 different melody lines in Part 1 of “All One” and teaches students different approaches to learn the melodies
Watch as Seth demonstrates the use of filler notes to connect chords, add interest and beautify the music
Practice suggestions: (1) Listen to the Krishna Das version to learn the different melodies (2) Rewatch Video #96, at slower playback speed, to review melodies and filler notes (3) Watch Video Library #3, also featuring this chant, without notation and an emphasis on ear training

95. Folk Maha Mantra, Part 1

CONTENTS:

Learn the well-loved Folk Maha Mantra, Part 1 with instruction on chords and melody notes presented for both the beginner and more practiced players
Watch as Seth teaches fingering, for chords and melody line, as a basis for practice and play
Hear a more complex version with chords and melody notes combined, and consider the added effect of embellishments to the melody
Practice suggestions: (1) Watch Video Library #83, also featuring this chant, with an emphasis on ear training (2) Listen and watch Folk Maha Mantra, Part 2 as a challenge to learn without notation

94. Sri Krishna Govinda, Chords & Melody

Join a super-fun open level group to learn the chords, vocals & melody for Sri Krishna Govinda
Hear Seth break down this popular chant into 2 sections with instruction on chords & melody - offering versions appropriate for both beginner and advanced-level students
Watch and listen as Seth builds on the basic chord version, using all 5 fingers, to overlay melody notes creating an inspired version for practice
Practice suggestions: (1) Practice very slowly. Progress very fast. (2) Think 10 times and play 1 time.

93. 3-Part Maha Mantra, Impromptu Kirtan

Hear Seth “plunk out” the melody from Video 92 featured chant, Radhe Govinda Radhe and learn a “hack” to simplify the chant for beginners
Learn an advanced-beginner level chant, the 3-Part Maha Mantra, and listen to Seth break down each section with chords, vocals and melody
Join in with Seth and friends for an impromptu community kirtan of the 3-Part Maha Mantra that will leave you smiling
Practice recommendation: On your own, work to identify the Radhe Govinda Radhe melody by "plunking" it out by ear on your keyboard or using solfeggio technique

92. Radhe Govinda Radhe

Hear Seth share an inspired kirtan and learn to play the moving - yet simple - chant, Radhe Govinda Radhe
Examine chords and chord progressions, noticing similarities to other familiar chants
Understand different approaches to realizing or voicing the chords and hear how this distinction supports the singing voice
Watch a demonstration of notated finger substitutions and practice the “lift, position, switch technique” to facilitate play - up and down the keyboard

91. Simple Maha Mantra

90. Focusing Attention, Bhajamani Ma

Learn to play the beginner level and always lovely chant Bhajamani Ma, dedicated to the 20th century saint or blissful mother, Anandamayi Ma
Focus your attention on hearing the chord transitions in Bhajamani Ma and discover similarities to Prabhupad Maha Mantra chant
Practice recommendation: (1) More advanced-level students will benefit from transposing this chant from key of A key to others (2) Add complexity and layering to the chant by filling out chords or completing chord triads

89. Jay Jay Kali Ma, Deceptive Cadence

Learn to play the simple, yet so very sweet, goddess chant Jay Jay Kali Ma dedicated to the fierce demigods Kali and Durga
Understand chords in this Bb Major version and discover how to add complexity by introducing missing chord notes and doubling
Hear the emotion and tension created and resolved when using a deceptive cadence to end the chant
Take in tips on signaling musical changes during a kirtan (tempo, rhythm, etc.) and effectively conveying to other musicians and participants

88. Minor Scales, Jay Jay Radha Ramana Haribol

Learn basic patterns of minor scales, differentiating between natural, harmonic and melodic minor variations
Hear the Shiva Shambo chant in two different minor keys and feel the difference in tonality by raising one note in a minor scale
Appreciate the complexity of minor scale variations and review relative major as a means to derive the natural minor scales, as well as a minor scale formula
Learn a new chant melody, Jay Jay Radha Ramana Haribol, in a minor key
Practice recommendation: Create a D minor scale working from the relative major (F)

87. Resting in Rasa (A,B), Envisioning Kirtan

Discover how to plan for a kirtan session by envisioning the outcome without attachment to results
Learn the hauntingly melodic David Newman chant, Resting in Rasa, in the key of B Major (Sections A & B)
Watch the keyboard camera to learn fingering positions and the importance of “lift, position, switch” techniques in play of this chant
Practice recommendations: Transpose Resting in Rasa to the key of C (1/2 step up) to allow for simpler fingering as you learn

86. Maha Mantra (Part 3), Leading Kirtan

Learn the final section of the Radhanath Swami Maha Mantra melody and practice techniques for “splicing” together melody with chords for a rich kirtan
Watch the keyboard camera view of different fingering options and finger substitution techniques, to support your practice of this beautiful chant
Be inspired by a thoughtful discussion on kirtan and engagement, using melody and repetition of simple chants, focusing on devotional service not attachment on outcome
Practice recommendations: (1) Create a “Part 4” to build intensity playing the last section in double-time (2) Change the key and move RSMM down to D Major or up to another key, exercising transposing skills

85. Transcribing, Maha Mantra (Part 2)

Continue transcribing the Radhanath Swami Maha Mantra melody, focusing more on singing, hearing and Solfeggio techniques
Learn to identify (Major and Minor 2nds) intervals within the melody, as you develop abilities to hear melody notes and transcribe chants
Hear, sing and transcribe melody to complete this lovely chant, as you develop your ear, using the harmonium keyboard as a reference to confirm hearing
Practice recommendation: Experiment with splicing together chords and melody notes as a next step in developing this chant

84. Transcribing by Ear, Maha Mantra (Part 1)

Learn to play a favorite melody of Radhanath Swami, transcribing by ear
Listen deeply to this lovely chant: understand the rhythmic structure, identify melody notes on keyboard, determine chord structure and notate with finger positions
Take away this creative process, supported by knowledge of intervals and the Solfeggio system, to transcribe and notate new chants on your own
Practice recommendation: Transpose Radhanath Swami Maha Mantra chant melody into key of C using Solfeggio system

83. Transcribing, Radhe Radhe Govinda

Follow the group’s real time creative process, transcribing a mesmerizing Radhe Radhe Govinda chant
Hear the key (major or minor?), deconstruct chord progression, decipher rhythm & pulse to teach yourself a favorite chant by ear for harmonium
Discover an approach to move from hearing to translating into written form or notating
Practice recommendation: Use count-singing to regulate rhythm. Further refine with a metronome

82. Ear Training, Solfeggio, Folk Maha Mantra

Discover more about intervals, key identification, solfeggio and putting together melody & harmony in arrangements
Sing the Folk Maha Mantra with solfeggio and mantra to strengthen hearing skills, as you learn to play this beautiful chant on harmonium
Learn the basics of a dreamy new chord, Major 7 and how to hear the root or tonic of a chord with low notes in the baseline
Practice recommendations: Use repetition as a means to move learning from short term memory to long term memory

81. Intervals, Govinda Damodara Madhaveti

Learn Major or Minor 2nd and 3rd intervals, with Jahnavi Harrison’s Govinda Damodara Madhaveti, as a reference for melody & interval identification
Train with exercises that reinforce the visual of interval patterns on the keyboard, as the ear develops a connection to hearing intervals in chant music
Understand the structure of chords (with stacked intervals) and how singing chords can reinforce hearing and identification of different interval patterns
Practice recommendations: As you hear music, in your car or on the street or anywhere you may, listen for intervals and try to identify as training for the ear

80. Kirtan Design, Radhe Govinda Chant (Part 2)

Learn to plan a kirtan with Seth’s tips on chant selection, musicality, various modes and sharing spiritual wisdom to engage different audiences
Seth teaches chords and chord changes in continued study of Radhe Radhe Govinda Radhe chant
Hear cadences or ending chord patterns and how these differently resolve a musical piece, as you learn a new music theory term and definition
Music theory as a decoder ring, or is it all a beautiful mystery? Or both!

79. Rhythm, Radhe Govinda Chant (Part 1)

Seth integrates rhythm foundations study with practical methods, e.g., snapping, tapping, clapping, singing, etc. that can be practiced anywhere to strengthen innate rhythm, with or without a harmonium
Learn Radhe Radhe Govinda Radhe chant, which provides challenging rhythm and fingering work for students to try
Use a metronome to create a rhythmic "muscle memory" that will help to develop an "inner metronome" and improve precision
Seth teaches tips for syncopating or accenting upbeat in a melody line: (1) increasing volume (2) silence on the downbeat (3) pitch or higher note on upbeat (4) rhythm
Practice recommendations: (1) Practice Radhe Radhe Govinda Radhe slowly (2) Play 5-10 minutes with a metronome daily on a piece of music you know well (3) Transpose Radhe Radhe Govinda Radhe from key of C to Bb or D

78. Rhythm Accompaniment, Honoring Ram

In honor of Ram’s Appearance Day, Seth teaches beat, measure and time signature using the chant, S.R.I. R.A.M. by Jai Uttal
Seth facilitates rhythm exercises using a layered approach with clapping, tapping and voice on harmonium to Ram chants, S.R.I. R.A.M. by Jai Uttal and Sita Ram
For teaching rhythm accompaniment, Seth adds practice in subdividing the beat, straight and syncopated rhythms with exercises and demonstrations

77. Chord Fingering Patterns, Sita Ram

Seth teaches fingering patterns for major and minor chords in the root position
Seth instructs students on options for economic and ergonomic fingering choices. The lesson emphasizes both patterns and variations depending on musical context
Seth plays a Maha Mantra chant, using arpeggiation to create decoration and interest
Seth facilitates a student exercise using the chant, Sita Ram. He outlines an arpeggio practice students can apply to create their own musical interpretation of Sita Ram
Other techniques; embellishments or playing outside the chord, doubling or adding a 4th note, tapping - to support rhythm and artistic expression

76. Finger Exercise, Kirtan, Shiva Shiva Mahadeva

Seth explains various fingering exercises, including the 5-Note Scale, Thirds Exercise and Chord Arpeggio. Students learn the importance of hand position and strengthening to develop skills using the Leschetizky Solution and Hannon Method
Seth sings Shiva Shiva Maha Deva, teaching finger substitutions and hand positioning for this new chant
Seth explains the composers’ use of tension and resolution (dissonance) as found in this beautiful piece
Seth shares tips on participating and contributing in kirtan with roles other than kirtan leader or playing harmonium

75. Applying Music Theory, Shiva Shambo

In this music theory packed class, Seth demonstrates a new chant with a minor chord, Shiva Shambo
He showcases notes, rhythm, building chords and playing techniques as we learn to play with confidence
Students transpose Shiva Shambo to a different minor key and build relevant chords with a refresh of the major/minor chord formulas
We end with a discussion of chord numbers in the context of major and relative minor keys

74. Major and Minor Keys, Divine Maha Mantra

73. Chord Progression, Relative Keys,Om Mata Kali

72. Chord Formula, Embellishment, Sri Ram Shala

Content:

Learn to play Sri Ram Jay Ram
The major and minor triad chord formula and how that applies, practically, to our harmonium playing skills
Seth shares his insights on how a deep practice develops your skills over time
Learn the concept of embellishments and adding it to Sri Ram Jay Ram

71. Filling in the Chords, Chord Voicings, Ma Durga

Content:

Harmonium view of Seth playing Krishna Das’ Ma Durga with & without embellishments
Seth uses the Ma Durga melody to sing the Jewish song, L’Cha Dodi
Seth reviews finger position & rhythm for Ma Durga
Learn chord variations, embellishments for Ma Durga

70. Harmonium Foundations, Sunrise Maha Mantra

69. Melody Notes, Harmonizing, Ear Training

68. Practice Time, Playing Melody w/ Chords

Structuring a practice with limited time, with less guidance
Finding the melody notes of the Manipuri Maha Mantra on the keyboard
Using the Melody to play (Rishiskesh) Mi Chamocha by Shir Yakov
Learn to play the Manipuri Maha Mantra with both the melody notes and chords
Learn the finger positioning and substitutions on the keyboard
View the SLOW practice version of the Manipuri Maha Montra w/ chords & melody

67. Seth’s Notation System, Chord Building

66. Learning the Key, Sus Chords, Deena Bandhu

65. Finger Positions, Subdivisions, Rhythm Practice

Learn the finger positioning for the mantra, S.R.I. R.A.M. by Jai Uttal
Why is finger positioning an important fundamental skill to learn?
Using a clapping method to practice the subdivisions in a measure
A method to strengthen your rhythm practice with a metronome
Seth introduces a brief lesson on sus (suspended) chords

64. Syncopated Rhythm, Finger Position, SRI RAM

63. Feeling Of Chords, Number System, SRI RAM

62. Sound During Meditation, S.R.I. R.A.M.

How is sound used during meditation?
Using drone notes while guiding meditation
Seth provides the students with a guided meditation example with the harmonium
Using chord voicings, like a sus9 chord to create interest during guided meditation
Seth demo’s and teaches the chords and melody of Jai Uttal’s S.R.I. R.A.M.

61. Chords, Transposing, Training Your Ear

Jen shares a Saraswati chant
A lesson on chord progression, chord voicings, scale degrees and chord triads, using the Saraswati chant
Understanding harmonic functions of the dominant & tonic chords
Developing a relationship with music to train your ear
Seth reviews the notation for Govinda Jaya Jaya to teach transposing keys
Seth teaches the chord progression and how to determine the key for the Baba Hanuman chant
A short lesson on the minor chords

60. Learn Govinda Damodara Madhaveti

Seth teaches the chords and melody for the chant Govinda Damodara Madhaveti, in two versions.
Seth uses Govinda Damodara Madhaveti as a lesson on finger positions, 2-beat rhythm (dotaal), diatonic movement, and arpeggiation
Seth teaches a 3-beat rhythm (teental) using the chant Baba Hanuman
A student shares the Pancha Tattva Melody

59. Embellishments, Krishna & Hanuman Chants

58. Memorization, Practice, Vriksavalli Hare Krishna

57. Learn the Key & Chords of Baba Hanuman

56. Tempo Changes in Kirtan, Scale Degrees

55. Building a Structured Practice, Maha Mantra

54. Using Your Ear, Minor Scales, Ana El Na

The difference between chants for kirtan vs. for singing on your own
Students use their ears to learn notes & key for Renee Finkelstein’s Ana El Na
Taking a deeper look into the E minor scale
How do you find the relative major?
The melodic & harmonic minor scales
Seth reviews the chords and notation sheet for Ana El Na

53. What Key?, Tapping, The Signifcance of Time

52. Learning Jahnavi’s Maha Mantra by Ear & Eye

51. Meters, Bhagavad Gita, Divine Maha Mantra

Today we learn about meters and how they provide a rhythm to the slokas of the Bhagavad Gita, the most important spiritual text in Hindu religion. A meter provides the rhythm while the notes of the meter provide the melody. Seth also plays the Divine Maha Mantra and demonstrates why counting out the beats helps you get a clear sense of the rhythm that eventually allows you to improvise and play freely.

50. Rhythm, Tapping, Shiva Shiva Mahadeva

How do you distinguish the rhythm of a song? How do you know where it starts? What beat to come in on? Today Seth provides the answers by teaching the students a lesson on 1) time signatures 2) where the #1 beat is and 3) how to distinguish where you start singing. Seth also teaches us the “tapping” method - how to add rhythm into the keys of chords to help people keep the sense of the beat and feel the rhythm. It’s the arrangements of the notes and how they fall in a sequence of time that makes music exciting and interesting.

Seth Shares His Knowledge on the Bhakti Movement
The difference between a three count and a four count in music
Seth teaches the Shiva Shiva Mahadeva chant in 4 count and Devi Puja chant in 3 count
Seth discusses the importance of tapping when leading kirtan and teaches several tapping techniques to use while playing the harmonium

49. Chord Voicings, Shiva Shiva Mahadeva

We take a workshop approach towards learning the chant Shiva Shiva Mahadeva, in today's class. Seth breaks it down step-by-step to teach the students how to identify the notes, play the melody, positioning your fingers and what to consider when building the chords. What results is a great version to play on the harmonium.

48. Chord Arrangements, Sri Krishna Govinda

Learning how to “spice it up” when playing a mantra on the harmonium is the focus of today’s lesson. Seth takes the students through a lesson on chord voicings by reviewing chord inversions and the 1,4, and 5 chords of the C major scale. He uses the Sri Krishna Govinda mantra to demonstrate the beautiful contrast and expression that is achieved when playing a combination of the melody notes and the chords.

A brief conversation on the Bhagavad Gita and why we practice Bhakti
Seth reviews the notation sheet and demo’s the Sri Krishna Govinda Mantra
Seth demo’s the chord arrangements for the Prabhupad Mantra
Using the 1,4 and 5 chords to create your own versions of a chant
Adding richness, texture and variety to a mantra by playing both the melody notes and chords

47. Four Note Chords, The Shalom Medley

Today we learn how to play The Shalom Medley in A minor scale, while also learning how to add a fourth note to a chord, usually the octave note. Adding the octave note as the top note of the chord brings more fullness and intensity, especially during kirtan and can fill out the sound spectrum particularly when reinforcing the root note.

46. Sometimes You Sing the Chords As The Melody

45. Training Our Ear, Diatonic Movement

The process of training our ears and learning to find the melody notes on the harmonium is a slow and methodical one. In today's class, Seth use the Maha Mantra to help us learn how to use both our head and our ears a reference point when learning how to play the melody, while also sharing his knowledge on scale movements, also known as diatonic movement.

44. Power of Music, Heart as Wide as the World

43. “Aha” Moments in Music Theory

Over time, as our knowledge and experience begins to take shape, we encounter A-ha moments that transforms our skill set. Today, after many teachings on the circle of fifths and chords, a break through occurs in why learning the 1,4 and 5 chords are the most important to learn. Seth also shares his thoughts on a disciplined learning approach vs. one that approaches learning in smaller chunks.

42. Rhythm, Scales, Govinda Jaya Jaya & Barchu

41. Diminished Chords, Deceptive Cadence, Kali Ma

There's a spiritual and physical reality in life, like things coming up unexpectedly, or things not going according to plan that creates consternation. When this tension finally comes to a resolution, it can deepen our faith, helping us realize that there was indeed a greater good at play. We find that same Grace through our music when using techniques like a deceptive cadence at the end of a song. In today's class, Seth instructs the students how to create this "mood" by teaching us the diminished chord formula, and teaches the Jay Jay Kali Ma chant use this technique.

40. Instructing, Minor Chords, Ho’oponopono, Pulse

Directing your audience to follow your instructions while playing the harmonium is a skill that Seth teaches the students today. Traditionally, a Kirtan leader, “kirtankar” will sing through the chant and then the audience will sing the chant back to the leader. This happens back and forth, over and over again, referred to as ‘call and response.’ This oftentimes requires instruction from the kirtankar. Seth takes the beautiful Hawaiian song Ho'opnonpono, a prayer for forgiveness, to demonstrate this technique. The students will also further their understanding of minor scales and their difference between major scales.

39. Rhythm, The Metronome, Barchu Song

Rhythm is a precise measure of time. Today, Seth explores the topic of rhythm, its precision, and why identifying the beginning of a cycle is so important. The students also learn how the metronome can be used as a tool to develop your internal sense of rhythm that eventually starts to feel like a pulse inside of you, even when you take it away. Rhythm is also important to keep in mind while leading a group in call and response and Seth uses the Barchu song to demonstrate this skill.

38. Arpeggiation, Embellishing Between the Chords

Adding scale notes in between the gaps, when we are not singing, provides beautiful ornamentation in what might otherwise be a space of silence. Seth teaches the students how to accomplish this by using a cascading, waterfall technique like arpeggiation and how to accentuate the melody. He breaks down the chords of the Om Gam Ganapataye Namaha chant to demonstrate this skill and shares a great "time" analogy when elaborating in between chords.

37. Playing Positions, Voice, Leading Kirtan

Hearing from the students is a highlight of the class. Today’s class is no exception. Through the insightful words they share, comes the journey that the students and Seth take together. It’s a beautiful example of how rich the student/teacher relationship can truly be. Today, Seth provides tips on positioning your harmonium for ease, how to lead kirtan confidently with tapping and tapering, and shares exercises for singing the octaves.

36. Unconditional Love, Deep Dive into Chords

During the student’s opening share, Seth asks them to answer “What do you need from today’s session?” Unconditional love was the resounding response - a need for connection and support, a gift of love towards others. Seth then guides the students through a lesson on the major and minor chords, helping them understand how the scale degrees and the chord’s triad formula help create a chord, what Seth calls a spontaneous “chord-bustion”. There is a continuous stream of learning, building over time, that eventually leads the students closer to understanding how to create their own music.

35. Building Melodies, Maha Mrityunjaya

Today’s class format is changed up a bit and what results is curiosity and insight on many topics. The student’s opening share inspires Seth to guide us through a meditation practice that encourages freedom that we take into our playing and our voices. He then uses the Maha Mrityunjaya mantra to highlight the importance of training our ear and teaches us how to build a melody, putting our music theory knowledge to good use.

34. The Joy in the Oy, Student Led Chanting

After a beautiful round of opening thoughts from the students, a common theme of love and healing emerges. Our practice reminds us to keep coming back to our hearts, to be able to make people feel what’s in our hearts, to keep our hearts open. This is what makes our practice so rich and what we call upon especially during this time of unrest in the world. Today, Seth devotes the remainder of our time together for students to share their voices and their hearts with the group, sending healing vibrations of love out in the universe.

33. Minor Scales, Transposing Chords

As with any learning subject, we slowly acquire knowledge over time. Over time, that knowledge transforms into understanding, comprehension, and insight into how to apply it. We become more curious and want to learn more, we refine our understanding. Today, Seth answers an array of questions, demonstrating the students desire for refining their skills and introduces the group to the minor scales.

32. Bellowing Techniques, Cultivating Hearing

In this world of technology and certainly, on-line gatherings, we may have experienced technical challenges. Today is no exception. We rely more so on our sense of hearing than on our visual sense, holding the space together, as technical obstacles are addressed. Seth shares his knowledge on bellowing techniques, and use the remainder of class time for students to share their harmonium and chanting gifts.

31. Om Namah Shivaya, Why Music theory?

Sound is sacred and when you start to understand the building blocks of music theory, you begin to understand the relationship between notes and the inner workings of sound. It allows you to be the musical alchemist once you understand how to apply it, which ultimately allows us to express our music in a healing way that works on an energetic, psychological, emotional and certainly a spiritual level. We take this into today’s practice by learning the mantra Om Namah Shivaya while Seth shares a robust lesson on music theory.

30. Singing with Ease and Vibrato

There's a sense of freedom that's required when we're creating sound with our voices, the equivalent of how you're able to let your personality come through when you're relaxed around other people. Singing with vibrato happens in the same way, when we are relaxed and open. There, where we find a natural occurrence and fluctuation of the voice that creates the vibrato. Today, Seth guides us through a lesson on how to sing with vibrato and then closes it out with a breathing exercise that helps us find ease through the throat, ease through the jaw, and ease through the body.

29. Mantra, Emotion, and Audience

We have the potential of connecting with someone emotionally when we chant. Like music, chanting has a way of embodying what we’re feeling. We sing with our full hearts, we become a beacon of light, and we are graced with the vibration of sacred sounds resonating within us and thus, trickling outward. In today’s class, our sangha share their personal thoughts on what it means to touch the hearts of those listening and chanting with us.

28. Bija Mantra, Chakras, Lokah Samastah

The Lokah Samastah mantra softens the hearts of all beings. Oftentimes it opens our own hearts which indirectly benefit others. We become an open channel, open to receptivity and open to loving ourselves. That internal process has an outward effect towards all and we begin to wish the same things for other people. In today’s lesson plan, Seth teaches another version of the Lokah Samastah chant while reviewing the notation and fingering, offering an ability for memorization. We close the class by taking in the beautiful sound of Seth chanting the bija mantras, or seed sounds of the cakras.

27. Singing, Breathing Techniques, Maha Mantra

Singing is a controlled exhalation of sound that requires an awareness of breath: How is the breath moving into your body? Where do you feel your breath as it enters? And, like the bellows of a harmonium, our diaphragm and breath work together to create the sound resonating from ourselves. Seth shares some techniques to bring awareness to our breath and incorporates today’s breath practice with a review of arpeggiation, a technique that takes our playing to the next level by adding texture, rhythm and excitement to the chords of the Maha Mantra.

26. The Basics of Harmony, Saraswati

Harmony is an intricate and complex subject that has depth. It is defined as a vertical event in time where notes, tones occur simultaneously. Learning to harmonize can put us in an uncomfortable position. But it’s only through discomfort that we grow. Our music theory lessons help us bring this lesson all together. We use our knowledge of chords and scales to insert our voices as we practice harmonizing with the mantra to Saraswati.

25. Everyday Creation is Renewed, Fingering Tips

In today’s class, we see what lessons can develop through our individual sharing. By taking a more organic approach towards our practice together, we’re able to discover themes that Seth turns into learning opportunities. The chant, “Everyday Creation is Renewed” comes up as today’s lesson. The students get the chance for on-their-own practicing, sharing and learning about finger substitutions and the musical interlude that exists between phrases.

24. Play in Different Keys, Circle of Fifths

“Knowledge can be learned but wisdom must be earned”. It takes tapas (effort) to continually apply our knowledge in order to attain wisdom. And so, we put our training wheels on and pick up where we left off from the last two lessons to apply what we’ve learned. Seth will also take us through the circle of fifths, a naturally derived system that works out in a very perfect and complete manner.

23. Visualizing Chords, Transposing Ma Durga

It’s a jam-packed music theory class focusing on chords and using the major scale formula to transpose Krishna Das’ Ma Durga chant from C major to G major. Chords are like building structures - the floors and ceiling are the same but the color on the walls are different. It’s the wall color, or in this case the middle note of a chord, that changes the “color” of the chord.

22. Lokah Samastah, Transposing Melodies

We’ll use the first five notes of the C major scale to learn the Lokah Samasta chant, a prayer to all beings, that they may be free from all suffering. We take it a step further by using the major scale formula to learn how to transpose the melody in a different scale and how to create harmonic sounds by adding in additional notes.

21. The Angel Song, Patterns and Using Vision

Seth teaches us three key elements when memorizing, using the beautiful chant, The Angel Song. Step 1: Visual the chords on the keyboard; Step 2: Pay attention to the patterns of the chords; Step 3: Train our ears to focus on the alignment of the chords with the syllables of the words. In this class, we really challenge ourselves by getting out of our comfort zone in order to progress in our memorization abilities.

20. Elohai Neshamah, Syncopated Rhythm

Rather than adding to our existing “tool box”, today’s lesson plan looks back at what we’ve learned and focuses on the condition that things are in. We find inspiration when we pause to take a closer look at each of our individual practices. We’ll play the Jewish chant, Elohai Neshamah together and practice how to create a sense of drive, spark and momentum in our music when we add an accented note in an unexpected place. It’s this “offness” that gives the song it’s drive.

19. Ganesha, Memorization Techniques

Today, Seth leads a discussion on memorization techniques such as repetition and noticing patterns. The class comes full circle when memorization is put into practice as student Madeleine demonstrates her ability to sing today’s chant, Ganesha Sharanam, without sheet music.

18. Saraswati, Reading Notation, Finding Melody

Saraswati, the Goddess of learning, education, music. We’ll use this Krishna Das chant to the divine feminine while learning Seth’s notation system and to find the “hidden” notes of the melody line within the chords we play. This allows us to sing the melody independently, with confidence while also feeling supported.

17. Ma Durga, Finger Choreography

Learning how to use a technique like finger substitutions when playing the harmonium is like learning choreography of the fingers. It’s a dance on the keyboard that allows for smooth transitions between chords. It's like stitching fabric - we tie it together so you don't have a break of sound. We apply that lesson to today’s chant, Ma Durga by Krishna Das and allow for group practice time.

16. Chant & Restore Class, Ra Ma Da Sa

We start the class with a sweet, guided seated meditation to get grounded before moving into our chanting practice. Today’s mantra, Ra Ma Da Sa is used for healing the universe and for inviting in the universal energy of the infinite, by chanting to the moon and the power of the sun. During our restorative practice, we begin with an exploration of the entire body, through the awareness of both our internal & external self. And with each breath we take in, we invite the entire universe and God’s grace in with a sense of humility and devotion.

15. Understanding Scales and Melody

Scales are a collection of notes within an octave that are usually played in sequence. The movement of going up and down the scale becomes the basis for melodies and improvisation. Today’s lesson digs into our creative ability - we’ll use the A major scale for some self exploration and see what comes out of our own inspiration.

14. Chant & Restore Class - Radha & Krishna

When we chant the names of Krishna and his beloved, Radha, we give ourselves the opportunity to experience divine love with Krishna, the object of love and Radha, the object of lover. Seth then transitions you softly into a restorative pause, with his soothing melodies on harmonium and piano, while gently guiding you through a very mindful breath practice.

13. Smooth Chord Transitions, Slow Practice

Today’s class takes a very mindful approach towards creating a seamless transition of sound between chords, using what Seth calls the LIFT, SWITCH, POSITION method. More importantly, we unpack the importance of practice. It’s like building a foundation of a house - what’s built there affects every other part of the structure above it.

12. Maha Mantra, Arpeggios, Chord Breakdown

We can add rhythm to a chant in a variety of ways to make it sound like your own. Today we’ll explore a technique called arpeggiation. An arpeggio is when the notes of a chord are performed in a rising or descending order instead of all at the same time. We’ll also “spell out chords” further and breakdown our knowledge of chord inversions through our understanding of root notes, base notes and intervals.

11. Isq Allah, Drone Notes and Melody

Today, Seth teaches the chant, Isq Allah Mabud Lillah from the Sufi tradition. This beautiful chant reminds us that God is love, lover and beloved. In the chant, we express that love by singing the words, "All I ask of You is forever to remember me as loving You" We’ll also experiment with the chant-like quality that’s created when harmonic movement and chord changes are replaced with drone notes. Taking out the complexities of all the harmonic motion is liberating and frees you up to move vocally.

10. Guru Brahma, What “Key” You’re In

How do you know what key is being used in a particular chant? What’s the importance of the relative number system? Understanding music theory is an enlightening and creative endeavor that enables the student to move around a melody in different keys changes even if you don’t have perfect pitch. Today we sing to the Guru, Brahma and use today’s music lesson to reinforce and practice what we learned.

9. Govinda Damodara, Cultivating your Practice

“I planted the seed, now you must work a lot otherwise the tiny plant will die” - B.K.S. Iyengar. Like cultivating and nurturing a garden, there are elements like care, devotion and of course love that are required to grow a life-long practice. In today’s class we discuss ways to overcome the hurdles we might face in our practice, while also learning the Govinda Domodara mantra from Jahnavi Harrison.

8. Ganapataye, Anatomy of the Breath, Rhythm

There’s a sense of freedom you create with your breath and body while chanting. This class focuses on the anatomy of the breath - you’ll learn how the breath flows into the body and then apply it to your chanting to create that freedom. You’ll also learn the chords to Om Gam Ganapataye Namaha and we’ll breakdown Seth’s rhythmic tapping demo. It’s this tapping, or syncopated beat, that adds “color” to your harmonium playing.

7. Sarva Mangala and Chords in Root Position,

Leading kirtan takes surrender. We answer the question, “How do you let go into the mantra?" and share thoughts on releasing into this place of vulnerability when you chant in front of others. Using the root position for each chord , Seth demo’s the Maha Mantra, one of three chants we learn in today’s class.

6. Amba Bhavani, Major/Minor Chords, Rhythm

In honor of Earth Day we chant to the sweet relationship between Mother earth and the Divine feminine, celebrating their connection to the land and environment. Find the relative minor and major chords using the B flat major scale while learning how to play the mantra, Amba Bhavani by David Newman. We’ll take it a step further and practice how to add texture to your melody through rythmic tapping, just one of the many elements you can use to unfold how you lead Kirtan in your own unique way.

5. Anadamayi Ma, Drones and Chord Inversions

This robust class is loaded with great learning lessons! We’ll use a beautiful chant to the divine mother, Anandamayi Ma to unpack how you discover notes on the keyboard and using the drone note in your melody. We’ll also go deeper into the exploration of chords and their use in creating chordal tones and smooth transitions with chord inversions.

4. Durga, Finding and Transposing Melodies by Ear

Learn a Durga chant by ear (or by watching Seth’s fingers) and how to use your ear to find the notes of a melody on the harmonium. Learn how to “transpose” a melody. “Transposition” is taking a piece of music and moving it to a different key. For singing, this let’s us accommodate our voice by moving the melody higher or lower.

3. “All One” Maha Mantra, Student Led Kirtan

The Maha Mantro chant, or “great” mantra, was propagated by Sri Chaitanya Mahaprabhu in the late 15th century to relieve the suffering of humanity in Kali Yuga (the current age of conflict) and to bring us closer to Krishna (God) consciousness. The simplicity of this chant gives you the space to strengthen your ear muscle and learn where the notes go instead of using a visual aid while we take a deep dive into chord progressions.

2. Ma Durga, Embellishing Melodies

We take a masterclass approach and experiment with embellishments that you can add in the space between chords. It’s in this space where you have the freedom to “double the melody”, use “suspension notes” and “anticipation notes” to create beautiful moments, just like using the colors on an artist’s palette.

1. Ganapataye, Harmonizing, Leading Kirtan

Learning to find the root note (tonic) on the scale helps you find the melody, just like developing a tuning mechanism. We’ll use the C Chord to learn more about “passing tones” as they pass through other notes and create one harmonious moment-in-time. We’ll also spend time learning ways to lead Kirtan with confidence in this new normal of on-line gatherings.

Hare Krishna Hare Krishna Krishna Krishna Hare Hare Hare Rama Hare Rama Rama Rama Hare Hare