{"id":1464,"date":"2024-04-27T15:18:07","date_gmt":"2024-04-27T15:18:07","guid":{"rendered":"https:\/\/www.yoganandafortheworld.com\/story\/?p=1464"},"modified":"2024-11-11T16:58:41","modified_gmt":"2024-11-11T16:58:41","slug":"conversations-with-ananda-ch-66-nayaswami-krishna","status":"publish","type":"post","link":"https:\/\/www.yoganandafortheworld.com\/story\/conversations-with-ananda-ch-66-nayaswami-krishna\/","title":{"rendered":"Conversations With Ananda — Ch. 66, Nayaswami Krishna"},"content":{"rendered":"

 <\/p>\n

\"Nayaswami<\/a>
Nayaswami Krishna in 1998.<\/em><\/figcaption><\/figure>\n

Krishna directs the training choir at Ananda Village.<\/strong><\/p>\n

Q:<\/strong> How did your interest in music begin?<\/p>\n

Krishna:<\/strong> I was about ten when they showed us the instruments we could choose to play at school, and I thought, \u201cOh, there\u2019s one with just three buttons.\u201d [Laughs] It was the trumpet, and I said, \u201cI\u2019ll take that one.\u201d<\/p>\n

Unfortunately, I quickly learned that it was one of the most difficult instruments \u2013 I think French horn is the hardest \u2013 but I started playing and I had a great time. When I graduated from high school the band director encouraged me to study music at a liberal arts college in Ohio.<\/p>\n

At college I got lots of encouragement from my professors and had a great time playing jazz. When I graduated I got a job as a band director in Catholic elementary schools. I loved watching the children light up with music as they discovered they could play. But then I decided I didn\u2019t know enough about teaching, so I went back to school and earned a master\u2019s at the University of Illinois, focusing on psychology and music instruction.<\/p>\n

Grad school was a rich experience, because there were great musicians that would come to teach and lead clinics and play concerts \u2013 Duke Ellington, Van Cliburn, Charles Mingus, and the best trumpet player in Russia, Timofei Dokshizer, who gave a workshop for ninety of us trumpet players, and I got to be in a smaller group of thirty who learned from him.<\/p>\n

After college I spent a decade teaching in various settings all around the country, from grade school through college. I loved instrumental music, but I had studied voice, even though I was totally dissatisfied with the voice experience in college because it was very shallow.<\/p>\n

Swami Kriyananda described how he took voice lessons as a young man, and how he didn\u2019t want to sing those histrionic operatic arias, and neither did I. The teacher literally asked me to put my hand on the piano and look soulful and sing in a dramatic \u201cprofessional\u201d manner. [Laughs] I couldn\u2019t believe my teacher asked me to do that!<\/p>\n

When I got to Ananda, the music was very intriguing to me. Being classically trained and into jazz which is very complex, I listened to Ananda\u2019s music and thought, \u201cOh, how simple.\u201d But looking back, of course, I see how I missed the point. Later on I pulled out the big book of all the Ananda pieces and proceeded to play them on the trumpet, and that\u2019s how I started to connect with the music.<\/p>\n

My first thought had been, \u201cOh, how sweet that Swami Kriyananda also sings.\u201d<\/p>\n

I didn\u2019t understand how deep the music was until I internalized it personally by playing all the pieces with focus and openness. And then over time I began to understand the vibrational side of the music, still by playing it on trumpet.<\/p>\n

I had completely let go of thoughts of singing because it wasn\u2019t interesting to me, but when I began to chant I realized that the voice is a key component of our spiritual path, and an important vehicle for finding our deep spirituality, because when you use your voice, whether speaking or singing, there are no barriers between you and God. You\u2019re emitting sound, you\u2019re emitting AUM, and Swami\u2019s music reaches us from the deepest aspect of AUM, because that\u2019s where he received the inspiration to write it.<\/p>\n

So I finally began to feel truly turned on by the music, and I began helping the choir director however I could. That was in 1990, when I came to the Village to take the year-long monastic training program, and then I went back to Palo Alto and helped with the music there.<\/p>\n

Directing the large Palo Alto choir, I was intrigued to see how the inspiration of the music flowed very individually through each singer. Directing is a wonderful experience, because you\u2019re connecting with the singers in a flow of inspiration that\u2019s unique every time you rehearse or perform.<\/p>\n

Q:<\/strong> You\u2019re now directing the training choir at Ananda Village. If someone expresses an interest in singing the music, but they\u2019re shy or they\u2019ve never sung in a group, how do you help them?<\/p>\n

Krishna:<\/strong> We start with simple exercises that change their idea of how to sing. We practice learning the parts, of course, but the exercises are intended to correct any preconceptions they may have that they\u2019re supposed to sing a certain way.<\/p>\n

We try to get the new singers to learn to blend their voices with the choir. We explore what the voice can do, and how to get in touch with the inspiration of the songs and with the singers around us.<\/p>\n

As people learn to blend their voices, I\u2019ve seen that they become more comfortable with themselves. In the beginning they may feel shy, but pretty soon they come into their own, knowing they can sing the music and truly feel it.<\/p>\n

We\u2019ll start with the simpler unison songs like \u201cCloisters,\u201d and we\u2019ll focus on blending, volume, and other technical things, then we\u2019ll sit for a moment to feel the inspiration, and that\u2019s where I\u2019ve seen most people start to get it. A small group of experienced singers will come and practice with the training group, and the new people will find that it deepens their experience of singing with the larger group.<\/p>\n

Q:<\/strong> Chaitanya said that singing this music changes a person\u2019s voice. Have you noticed that?<\/p>\n

Krishna:<\/strong> It\u2019s true. It\u2019s a physical thing, because you\u2019re opening your heart to the feeling of the music, and as you relax it changes your physical approach. Instead of holding onto the muscles and straining, you learn to be more open, and then the throat relaxes and you find yourself naturally speaking and singing in a more melodious way.<\/p>\n

Swami Kriyananda said that the voice sounds more pleasing and natural when the throat is open and relaxed. It isn\u2019t that they\u2019re changing their technique, but the voice becomes more naturally relaxed, melodious and harmonious, to where they can sound more comfortable and clear. I think \u201cclarity\u201d is a good description for what comes out in their voices.<\/p>\n

Q:<\/strong> Lots of singers have said that a hallmark of Swami\u2019s music is a sense of inner harmony.<\/p>\n

Krishna:<\/strong> Yes, and once people begin to learn to align themselves with that harmony they can go deeper in the music. In practice we\u2019ll sometimes sit on a note for a long time \u2013 for instance if there\u2019s a four-part chord that sounds particularly unusual and beautiful \u2013 or we\u2019ll sing a phrase and hold the last note, and very often, if you can focus with deep calmness you\u2019ll feel it recalibrating your cells. It happens most easily when you\u2019re aware of the harmony, more than if you\u2019re just moving through a series of notes. When you\u2019re absorbed in the harmony of the chords, it opens you more broadly to the vibration of the music. I can feel that it\u2019s actually changing my brain in some way.<\/p>\n

Q:<\/strong> David Eby said that he\u2019ll have people sing for a bit and then be quiet, as you described, and when they come back and sing again it\u2019s as if their system has learned something.<\/p>\n

Krishna:<\/strong> I find it\u2019s true, and it takes you beyond the music to an inner feeling for where the music is coming from. When you pause and sit quietly, it helps bring your focus inward, and then the inspiration is greater when you come back and sing. We do work on technique, but the technical difficulties tend to go away when we\u2019re focused on the inspiration rather than the details. The technical side is important, but we like to stay grounded in the inspiration, because it\u2019s where people can truly understand the music, and then the performance becomes a higher expression of the music.<\/p>\n

Q:<\/strong> How can singers learn to give themselves more wholeheartedly to the music?<\/p>\n

Krishna:<\/strong> The main thing, I think, is to keep singing. Keep blending with the group, and keep listening. It\u2019s helped me to listen to recordings of Swamiji singing, and to sing along and try to emulate his voice and consciousness in all their qualities, and then I find after a while that the voice you\u2019re listening to disappears.<\/p>\n

It took me years to get beyond the technical side. I would think, \u201cYou\u2019ll be going up to a high note, so okay, better open your throat and increase this and do this and that.\u201d But then I would try it and it wouldn\u2019t work. [Laughs] You\u2019re thinking, \u201cHow can I make it sound like that?\u201d And what\u2019s actually needed is a more organic approach where you\u2019re focusing on the essence and letting the details fall naturally in place and serve the song.<\/p>\n

Q:<\/strong> How do you recommend that newcomers practice?<\/p>\n

Krishna:<\/strong> More than anything else, it\u2019s extremely important to relax. Watch your voice, and let go of all tension. If you\u2019re trying too hard and you forget about relaxing the voice you won\u2019t get a satisfying sound. The parts recordings for sopranos, altos, tenors, and basses are a wonderful way to practice, because you can listen and sing along with a good role model.<\/p>\n

I find that when people don\u2019t sing along aloud or mentally while listening to a practice tape, or when they just sing on their own without a model, they can develop bad habits. The practice recordings are a great aid for helping you get absorbed in the inspiration of the songs.<\/p>\n

My advice is simply to sing the music as much as possible. I\u2019ve seen that the people who take time to practice make progress quickly. The people who don\u2019t have time or willingness can get the vibration and move along just fine, but regular, deep practice is immensely helpful.<\/p>\n

When you practice on your own it\u2019s easier to hear what\u2019s coming out of you, so you can work on it and learn to forget yourself and be comfortable in rehearsals while blending and singing in harmony. And then rehearsals and performances become more joyful. The more you give, the more you are able to give. When your attention isn\u2019t divided it\u2019s easier to feel the inspiration and share it.<\/p>\n

Q:<\/strong> How do you help people who need to work on their voice?<\/p>\n

Krishna:<\/strong> I\u2019m currently working with someone who has tension in her voice, but she\u2019s very dedicated to singing. Swamiji said to her, \u201cWhy aren\u2019t you singing?\u201d He felt it would help her spiritual life and be a way she could give to people.<\/p>\n

We work on making the voice relaxed and harmonious. New singers tend to find that the music helps them discover their own magnetism and refine it.<\/p>\n

Q:<\/strong> When people begin singing Ananda\u2019s music, do they experience a personal transformation?<\/p>\n

Krishna:<\/strong> I think it helps their meditation. My experience is that it helps you breathe better, and it transfers to your meditation practices.<\/p>\n

Q:<\/strong> Can you think of any other ways it\u2019s been personally transforming for you to sing this music?<\/p>\n

Krishna:<\/strong> I\u2019ve worked through a lot with the music. Much of it had to do with letting go of mental and physical tension. Coming from a background as a trained musician I realized there were all kinds of things I was holding onto that were preventing me from letting go and deeply experiencing the music.<\/p>\n

I\u2019ve become a different person as a result of meditation and singing. I don\u2019t believe the path is just philosophy or practical tips for changing ourselves or improving our lives. It\u2019s a flow, and I think that\u2019s something the music has given me \u2013 where I\u2019m better able to flow with the inspiration that the music can give to others, and let go of my mental blocks. The music is perfect for developing receptivity to a higher inspiration. You\u2019re offering yourself to be a transparent window, and the audience can see through you. It\u2019s very transforming \u2013 I\u2019ve overcome tremendous obstacles by learning to let go \u2013 it\u2019s been a freeing experience.<\/p>\n

Q:<\/strong> Does singing solos help you let go?<\/p>\n

Krishna:<\/strong> It helps you get there faster. We performed the Oratorio with Swami in the early Nineties. I was asked to play trumpet and I was petrified. I had performed for years, but being so deeply frightened challenged me to work out the tension and self-consciousness that were holding me back.<\/p>\n

Before the performance we sat down and Swamiji prayed with us. He said, \u201cHelp us to sing and play this music so that all who hear it will receive what they need, and not what we think they need.\u201d Isn\u2019t that perfect? I thought, \u201cThat\u2019s it! Don\u2019t hold onto anything<\/em>, so people will receive what they<\/em> need.\u201d<\/p>\n

Q:<\/strong> Swami has mentioned that he\u2019s never felt self-conscious or fearful about getting up and speaking, because he always has an attitude of giving. Have you noticed that it helps with stage fright?<\/p>\n

Krishna:<\/strong> It\u2019s absolutely<\/em> the key. You get up in front of the microphone, and you think of the grace that can flow through you for them<\/em>. That\u2019s what you think of, instead of how you\u2019ll sing, or how it will sound, or how you\u2019ll be perceived. You focus on them, and that\u2019s what frees you from ego and fear. The music is like a stained glass window. You\u2019re standing there and you\u2019re becoming clear, and you realize that you\u2019re transparent, and that it\u2019s the goal.<\/p>\n

Q:<\/strong> Two of the people I spoke with said that being part of the choir is like becoming part of a community.<\/p>\n

Krishna:<\/strong> I feel very strongly about that. Swami liked to tell the story of an emperor in China who would send his officials to the provinces to see how they were doing. He would tell them, \u201cListen to the music.\u201d Because if the music was harmonious, it that meant that things were all right in the province.<\/p>\n

Choir rehearsals can become a bit too chatty \u2013 people talk, and you can tell how everybody\u2019s doing, and what\u2019s going on in the community \u2013 if, for example, a family or a person is facing a challenge. Or they\u2019re tuning into something that Swamiji is going through.<\/p>\n

But it does drive me nuts. I want to say, \u201cStop talking and give all your attention to the choir director.\u201d Because the music is coming from such a high place, and we\u2019re being given the opportunity to tune in together to that high place, and everything else is a distraction. Even a little bit of twittering \u2013 someone will get distracted and say \u201cOh, the basses need to go yadda-yadda.\u201d And they\u2019ll sing a phrase. And if we can keep it to a minimum, it\u2019s a much better rehearsal for everybody.<\/p>\n

Q:<\/strong> Can you share your thoughts on feeling a sense of oneness with the other singers? Is it an important part of learning to give to others? That there\u2019s a feeling of singing as one voice?<\/p>\n

Krishna:<\/strong> It\u2019s definitely a plus. We saw a choir recently that sang as one voice to the extent that you couldn\u2019t pick out a single voice. The Ananda choirs do the same thing through tuning into the music. It creates a wonderful vibration in the moment.<\/p>\n

It\u2019s uncanny what can happen with the music. I find that the singers in each of the Ananda communities are getting the same results, and it has hardly anything to do with technical skills. In the best performances you feel the inspiration coming very purely through the individual soul.<\/p>\n

I think that would be the answer to your question, that when we\u2019re able to let the soul\u2019s inspiration come out we become something else. Our souls unite with the others in the choir, and it creates another reality. It\u2019s an entirely unique way of feeling free inside, by having a kind of community experience. One voice, one sound, and one dissolving back into God.<\/p>\n

Q:<\/strong> Do you have a prayer that helps you get out of the way?<\/p>\n

Krishna:<\/strong> \u201cHelp us get out of the way.\u201d Each prayer is different, but if you\u2019re about to get up and perform, you can ask Master to bless each person in the choir so that we can all bless others together. That would be a very simple and powerful prayer.<\/p>\n

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

  Krishna directs the training choir at Ananda Village. Q: How did your interest in music begin? Krishna: I was about ten when they showed us the instruments we could choose to play at school, and I thought, \u201cOh, there\u2019s one with just three buttons.\u201d [Laughs] It was the trumpet, and I said, \u201cI\u2019ll take … 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-1464","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nConversations With Ananda — Ch. 66, Nayaswami Krishna - Swami Kriyananda: Lightbearer<\/title>\n<meta name=\"description\" content=\"A disciple of Paramhansa Yogananda, professionally trained musician, singer, and choir director.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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