{"id":1440,"date":"2024-04-06T16:24:42","date_gmt":"2024-04-06T16:24:42","guid":{"rendered":"https:\/\/www.yoganandafortheworld.com\/story\/?p=1440"},"modified":"2024-04-06T16:24:42","modified_gmt":"2024-04-06T16:24:42","slug":"conversations-with-ananda-ch-63-ramesha-nani","status":"publish","type":"post","link":"https:\/\/www.yoganandafortheworld.com\/story\/conversations-with-ananda-ch-63-ramesha-nani\/","title":{"rendered":"Conversations With Ananda — Ch. 63, Ramesha Nani"},"content":{"rendered":"
\"<em>Ananda<\/a>
Ananda Joy Singers, 2010 – clockwise from bottom: Ramesha, Bhagavati, Peter Kretzmann, Satyana Hall<\/em><\/figcaption><\/figure>\n

Ramesha and his wife Bhagavati<\/strong> are the co\u2011directors, with Jeannie Tschantz, of the Ananda music ministry. They live at Ananda Village. A professional singer and violinist, Ramesha offers singing lessons and coaching through his website, www.vocalbliss.net<\/a>. (Photo: 2012)<\/em><\/p>\n

Q:<\/strong> How did you get started in music?<\/p>\n

Ramesha:<\/strong> When I was four or five years old we were living in Lugano, Switzerland and I decided I wanted to play guitar, so my parents bought me a toy guitar, but I wanted a real one, and then I started taking lessons.<\/p>\n

When I was thirteen, some friends of our family had a son who was an accomplished violinist and who\u2019s now very well-known in Europe, and because I was inspired by listening to him practice I decided to switch to violin.<\/p>\n

My violin teacher was the one who introduced me to Paramhansa Yogananda \u2013 he was a disciple of Master\u2019s through SRF, and through a series of serendipities I became interested in the path and I took the SRF lessons and got more deeply involved. I didn\u2019t find Ananda until I was twenty-six, but I took Kriya through SRF and I was deeply engaged.<\/p>\n

When my violin teacher began to pursue his career, I found other teachers until I graduated from the conservatory at twenty-five. Meanwhile I had started taking voice lessons from an accomplished opera singer with whom I studied for about seven years, until she passed away.<\/p>\n

Singing became my passion \u2013 of all the instruments I had learned, it was the one that felt closest to my heart. After graduating, I didn\u2019t touch the violin for nine years, because it had taken so much energy and will power to finish my studies, and I felt I was done with it.<\/p>\n

I discovered Ananda around 1996 and began visiting the center in Assisi fairly regularly, but I never told anybody that I was a musician. I remember listening to the choir and thinking, \u201cOh, that\u2019s cute.\u201d Because it was pleasant, but I really didn\u2019t get why the music was so important.<\/p>\n

In 2002, Bhagavati came to Lugano on tour with a singing group from Ananda, and in 2003 I was in Assisi again, and we became good friends. When she found out that I was a musician, she said, \u201cWow, you have to come back for the Festival of Joyful Arts in July!\u201d she mentioned to Shivani that I was a violinist, and Shivani got all excited and wanted to put on Swami\u2019s string quartet. The quartet needs two violins, a viola, and a cello, but there was only one violinist floating around Ananda at the time, so they had never been able to perform it.<\/p>\n

Neither of them knew that I hadn\u2019t played in years, and let me tell you, to put together the first violin part was an endeavor!<\/em> I practiced for an entire week in Assisi and it was hell, because after nine years without playing I was very rusty. So it wasn\u2019t perfect, but we managed to muddle through.<\/p>\n

Swamiji came north with some people from Assisi to give lectures in Milan and Como, and I attended. They were struggling to arrange some music at the last minute and they didn\u2019t have enough singers, so I learned the tenor parts for some of the songs and performed with them, and that was when I began to take more interest in Swami\u2019s music.<\/p>\n

It was really through Bhagavati that I got more deeply involved with Ananda and the music. I had a job in Lugano, so I couldn\u2019t move to Assisi right away, but I would go there often, and Bhagavati and I got to know each other better, and we became engaged and got married. We lived in Lugano for a couple of years, but we would travel to Assisi to help with the music and the events that Swami would put on.<\/p>\n

After a time we felt guided to go to the U.S., and I took a year\u2019s sabbatical from my job. After we\u2019d been in California for several months, Jyotish and Devi asked if we wanted to move to the Village and help out with the music, so the music gradually became my main dharma, and I resigned from my job and here we are.<\/p>\n

Last summer, Swami asked us to move to Los Angeles to help build the music ministry there, because there was no music at all, not even chanting. They were doing great things, but the music was completely neglected \u2013 they couldn\u2019t even do the Festival of Light on Sundays because nobody could play the songs.<\/p>\n

Q:<\/strong> By the way, every person I\u2019ve interviewed who\u2019s had a professional background in music has said the same thing \u2013 they came to Ananda and heard the music, and they thought, \u201cOh, that\u2019s nice.\u201d And for a long time they didn\u2019t feel how central it is to the teachings and to Ananda\u2019s work. Was there a landmark moment for you, when you began to take it more seriously?<\/p>\n

Ramesha:<\/strong> Bhagavati gave me a couple of CDs of herself playing the flute, and that\u2019s when I actually started to hear the music. Then it was the Oratorio that got my attention, because it was so deep and powerful, and the more I listened to it the more I began to understand what the music is about.<\/p>\n

When we got married and Bhagavati moved to Lugano, she started a choir at the center, and I began singing and playing guitar. By performing the music instead of just listening to it, I started to understand what it meant.<\/p>\n

To some extent, I have to admit that, even now, I don\u2019t think I \u201cget\u201d the full scope of it, so I guess there\u2019s a learning curve.<\/p>\n

Q:<\/strong> On your website, you say that you\u2019ve begun to explore ways to help people deepen their attunement with the inspiration in the music.<\/p>\n

Ramesha:<\/strong> I\u2019ve worked with lots of singers, many of whom have sung the music much longer than I have, yet I found that there was something I could help them with, and that was how to use their instrument better.<\/p>\n

I realized that it\u2019s possible to be inspiring even if you don\u2019t have solid technique, but you might not be able to go as deeply into the flow of inspiration if the technical aspects are getting in your way.<\/p>\n

I realized that if I could help people sing with greater ease, they could have a deeper experience of being a channel for God\u2019s inspiration, because they could relax and take it for granted that their instrument would respond the right way. I felt that I could help them get to the point where they weren\u2019t always worrying, \u201cOh gosh, that high note is coming!\u201d<\/p>\n

All of the singers are meditators, so they\u2019re naturally interested in trying to sing with devotion, but I realized that it can sometimes be more dynamic if you can just open up and focus deeply on the meaning of the song and let then the song \u201cdecide\u201d how it wants to be sung.<\/p>\n

It\u2019s a way of singing where you\u2019re focused on what you\u2019re saying, and then you can focus on the energy that\u2019s behind the words and try to open up to it as you sing, and let it flow out through you.<\/p>\n

When I\u2019m able to do that I feel a consciousness flowing through me, and I\u2019m no longer so self-aware, \u201cOh, I\u2019m singing, I\u2019ve got to make something happen.\u201d No \u2013 the song has an intelligence of its own, because Swami wrote it with that divine consciousness in it, and if we can open up and merge with that consciousness, realizing that each word and note is there for a reason, there\u2019s no way we\u2019ll be able to sing it \u201cwrong.\u201d<\/p>\n

But in order to do that, you have to be able to get rid of the burden of all these worries \u2013 \u201cOh gosh, how am I going to sing that high G?\u201d Because that\u2019s the voice of the ego.<\/p>\n

On the one hand, you focus on technique and try to get the most out of your instrument, and on other \u2013 okay, you\u2019ve honed the technique and now you can forget about it and focus on the inspiration, knowing that your instrument will respond because you\u2019ve trained it to do so.<\/p>\n

Q:<\/strong> In the sample lessons on your website, you sing \u201cLife Is a Dream\u201d with a very round, rich and relaxed tone. It feels as if you\u2019re opening your instrument so that the song can \u201csing itself\u201d through you. Do you think it\u2019s a question of people doing a volume of that kind of singing until they get used to it?<\/p>\n

\"<em>Ramesha<\/a>
Ramesha sings during a choir performance at Spiritual Renewal Week, Ananda Village, 2012.<\/em><\/figcaption><\/figure>\n

Ramesha:<\/strong> On the technical side, yes, it\u2019s about physically opening up and trying to stay as relaxed as they possibly can.<\/p>\n

Ninety-five percent of the people who try to sing make the mistake of doing too much. They put out more energy than is necessary, and the first thing that happens is that the throat gets tense. You\u2019re trying so hard, and the harder you\u2019re trying the worse it sounds. The whole training in singing is basically about relaxing \u2013 just relaxing and trying to create a sound that is round and smooth. But in order to produce that sound, you have to open your throat and stay relaxed.<\/p>\n

If you could analyze the spectrum of frequencies that your sound has, you would notice that the more your throat is relaxed and open, the richer the sound becomes. So that\u2019s really all there is to it, as far as the technical side goes.<\/p>\n

It\u2019s a training, you know \u2013 it\u2019s not that I can simply say \u201cOkay, relax your throat.\u201d Because it takes practice over time to develop the ability to use your voice with a relaxed throat.<\/p>\n

For some reason, most of us are conditioned to use the voice with a certain degree of strain. If you listen to Swami, his voice is always full. He\u2019s the only speaker I listen to where I never have to adjust the volume. Whether he\u2019s speaking softly or loudly, you can always hear him. Why? Because his voice is always open and free, so it projects outwardly all the time.<\/p>\n

This is where the technical side of singing merges with the consciousness with which we sing. Swami not only has a very refined technique, he\u2019s obviously inspired. This is what I\u2019m trying to help people understand, that you must develop your technique, but try to open up in a deeper way also.<\/p>\n

Q:<\/strong> Swami has said that everybody at Ananda should sing the music. Can you share your thoughts about why he says that, and how people can benefit from it.<\/p>\n

Ramesha:<\/strong> I think that singing this music is a very real form of spiritual practice, of sadhana<\/em>. At the Village, people like Nayaswami Seva have sung this music for more than forty years. I used to think, \u201cBoy, don\u2019t they get tired of singing \u2018Life Is a Dream\u2019?\u201d But I realized that it\u2019s a form of spiritual practice, because God is in the music.<\/p>\n

If you think of the divinity in the music, you never tire of it. \u201cWhat is this power that is trying to flow through me in this song? What kind of consciousness is trying to flow out and share itself with the world?\u201d It\u2019s the way you never get tired of your breathing practices in meditation, because they can always take you deeper, and it\u2019s very satisfying.<\/p>\n

Chanting is between you and God. It\u2019s a devotional practice, but it doesn\u2019t matter how you sing because you\u2019re focused on the words and on merging with them. But singing Swami\u2019s music is translating spiritual realities into music that you share.<\/p>\n

Whether you\u2019re singing in the choir or singing a solo, the goal is to tap the inspiration but not go so deep that it\u2019s only between you and God. You have to share it. You have to connect with your inner Self as deeply as you can, but stay alert and not let yourself go too far inward, but open up to share with all.<\/p>\n

If you\u2019re singing in a choir, it means tuning into the realities of the people around you. It\u2019s what we do when we warm up and blend our voices. We\u2019re expanding our aura to match the energy and consciousness of the people around us. We aren\u2019t just saying \u201cOkay, I\u2019m singing pretty well, see you later.\u201d It\u2019s amazing to see how it can be an effective spiritual practice, and there\u2019s no limit to how deep you can go.<\/p>\n

Q:<\/strong> What do you offer people to help them learn the music? If someone loves the music and wants to be part of it, for example, but they haven\u2019t sung, or they\u2019re more advanced and would like to join the choir and maybe improve their singing.<\/p>\n

Ramesha:<\/strong> For those who\u2019ve never sung, and maybe they\u2019re a bit shy, I would say that singing this music isn\u2019t about how great you sound, it\u2019s not about how beautiful your voice is; it\u2019s really about tuning into something bigger and becoming an instrument for it. It might sound like I\u2019m contradicting everything I teach, but really I\u2019m not.<\/p>\n

I run into so many people who are shy about singing. They would secretly love<\/em> to sing, but they don\u2019t dare. Who knows \u2013 maybe somebody told them they had an ugly voice when they were young, and they\u2019ve carried that criticism all these years. I always try to convince them that even if they can\u2019t carry a tune, they should give it a try anyway.<\/p>\n

It\u2019s really not about how good you sound. As I said, it\u2019s about opening to a flow of consciousness, and the music itself can be a powerful instrument to help you experience that.<\/p>\n

So that\u2019s the first thing I would say. And then after they\u2019ve gained a little confidence and they think maybe they\u2019d like to keep trying, I\u2019ll offer them basic vocal training, which is just doing some simple exercises to help develop their voice, and get to know their voice and learn to use it.<\/p>\n

Then I can help them learn the songs, note by note as you saw in the sample videos where I go through a song very slowly. I can record it for them, or I can help them download the part so they can learn it note by note and get it into their head. We can record it and put it on their music player, or burn a CD so they can listen to it until they learn.<\/p>\n

The next step is to take that knowledge of the melody, and I\u2019ll help them make it more beautiful, so they aren\u2019t just singing the notes but applying what they\u2019re learning in our basic exercises to an actual song.<\/p>\n

That\u2019s the preliminary part. If somebody\u2019s more advanced it might just be a matter of refining their technique. I\u2019ve worked with Dambara, for example. He has one of the most beautiful voices in the Ananda world, and I\u2019ve always thought it would be wonderful if he could learn to use it a little better, because it would make a big difference for him.<\/p>\n

For someone like Dambara who\u2019s already advanced and deep in the music, all it takes is learning a few tricks to get more out of your voice with less strain. That was his problem, that he couldn\u2019t sing for very long because his throat would get sore.<\/p>\n

It was interesting to me to see how Chaitanya was able to solve lots of technical problems by himself, which, I must say, is very rare. In my experience, very few people discover these things by themselves, but he was following his intuition and it guided him very well. He can go up high in a very relaxed way that\u2019s so pleasant to hear. It took me years of training with my teacher before I could understand it. So it does happen, but it\u2019s rare.<\/p>\n

So far, of the people who\u2019ve come to me for training, I can think of only one where I thought, \u201cI don\u2019t think I can teach him anything.\u201d It might sound presumptuous, but unless they\u2019re a very accomplished singer, there\u2019s almost always something I can help them with.<\/p>\n

Most singers are only interested in singing in a way that shows off their voice. For them, it\u2019s all about the beauty of the tone, and not necessarily in an egoic way. Maybe they aren\u2019t putting much ego into it, but the focus is on the beauty. And the approach we have is so different. It\u2019s pleasant to hear Dambara with his beautiful voice, but that\u2019s not the whole enchilada. If you took away the depth and inspiration he conveys and just listened to the beautiful tone, you\u2019d probably get tired of it pretty quickly. But the reason we don\u2019t is that there\u2019s so much more there.<\/p>\n

For most singers, even those who try to go deeper in their singing, it\u2019s very rare that they can tap into superconsciousness. It\u2019s usually about conveying an emotion, and not trying to go deeper and higher. And the problem is that it doesn\u2019t make you feel better afterward. As Asha put it, it brings your energy into motion and when the song ends, bloop, it drops you on the sidewalk. [Laughs]<\/p>\n

It\u2019s why our music is so amazing. It\u2019s a new approach to music and singing. It\u2019s about giving people an experience of what we can all aspire to spiritually, and no other music that I\u2019ve ever been aware of can do that.<\/p>\n

Here in Los Angeles we\u2019re trying to take the music out to the public, and I\u2019m realizing that the music has its own agenda. Swami has told us many times in recent months that it\u2019s time for the music to get out. I realize that it doesn\u2019t matter who does it, but the music is trying to go out, and if it\u2019s not through us, someone else will do it. It\u2019s all about consciousness \u2013 it\u2019s not about the people who are doing it, it\u2019s about the conscious flow of energy from God through Yogananda and Swami that\u2019s trying to go out into the world.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Ramesha and his wife Bhagavati are the co\u2011directors, with Jeannie Tschantz, of the Ananda music ministry. They live at Ananda Village. A professional singer and violinist, Ramesha offers singing lessons and coaching through his website, www.vocalbliss.net. (Photo: 2012) Q: How did you get started in music? Ramesha: When I was four or five years old … Read more<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1440","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nConversations With Ananda — Ch. 63, Ramesha Nani - Swami Kriyananda: Lightbearer<\/title>\n<meta name=\"description\" content=\"A disciple of Paramhansa Yogananda shares the inspiration he finds in performing high spiritual music.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.yoganandafortheworld.com\/story\/conversations-with-ananda-ch-63-ramesha-nani\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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