Vedic Chanting Principles

ॐ श्री मात्रे नमः  

Table of Contents

1. Beginning Vedic slokas
   1.1 Ganapati, Sarasvati & Guru Prardhana -Telugu
   1.2 Ganapati , Sarasvati & Guru Prardhana -English
2. Aksharas (Instruments to connect to Universal Consciousness)
   2.1 Why letters are important
   2.2 स्वर/ అచ్చులు/Vowels (16)
   2.3 व्यञ्जन/ హల్లులు/Consonants
3. Human Body – Beejas/Akshras.
   3.1 ​Letters Originating in the Human Body
   3.2 Aksharas and Shatchakras in the Human Body
   3.3 Panchopachara Pooja
   3.4 Shodashopachara Pooja
   3.5 Human body – Gayatri Mantram (total body Tuning)
4. Principles of Vedic Chanting
   4.1 Varnam (Pronunciation)
   4.2 Maatra (Meter)
   4.3 Balam (Strength)
   4.4 Saamam (Continuity and smooth flow)
   4.5 Samthaanam (Punctuation)
   4.6 Swaram (Applicable to Vedic Chanting)
5. Vedic Chanting Rules
   5.1 Rule-01: Chant each Syllable Separately by following Chandas
   5.2 Rule-02: Pronounce Alpa & Mahapranas as they are
   5.3 Rule-03: Take care of Hraswam & Deergham
   5.4 Rule-04: Replace Visarga (अः/aḥ/:) with appropriate letter as given below
   5.5 Rule-05: Replace Anusvaram (अं/aṁ/o) with appropriate Letter
   5.6 Rule-06: Stress on first letter of Mixture of Aksharas (pra, kra etc..)
   5.7 Rule-07: Hold letters at appropriate places
   5.8 Rule-08: Deergha Vowel followed by Vowel – slight pause required in chanting
   5.9 Rule-09: Two Successive Lower Swaras (Applicable to Vedic Chanting like Rudram)
6. Learning Material, Practice Groups & Practice Groups
   6.1 Class scripts and Audios
   6.2 Your practice recordings
   6.3 Practice & FB (Feedback) Groups
7. Assessment Process (Self, Group, Mentor and Final assessments)
   7.1 Don’t skip the classes:
   7.2 Practice:
   7.3 Record: Record
   7.4 Assessments method:
   7.5 Recordings Feedback Process
8. Common mistakes and Tips for Quality Chanting
   8.1 In correct Chanting
   8.2 Common mistakes
   8.3 Things that helps for fluent and mistakes free chanting
9. Closing Vedic Slokas
   9.1 Devi Kshama Prardhana & Sri Cakravasini Mangalam Song
   రాజరాజేశ్వరీ దేవి హారతి
   9.2 Devi Slokam – Telegu
   9.3 శాంతి మంత్రము/ Closing Slokam – Telegu
10. Appendix 01- Telugu Compound Letters
    10.1 Compound letters – Telugu_01 (Vowel + Consonants)
    10.2 Compound letters – Telugu_02 (Consonants + Consonants)
11. Human body – A Devine Temple

1. Beginning Vedic slokas 
   1. Ganapati, Sarasvati & Guru Prardhana  -Telugu

ఓం గ॒ణానాం᳚ త్వా గ॒ణప॑తిగ్ం హవామహే క॒విం క॑వీ॒నాము॑ప॒మశ్ర॑వస్తమం । 

జ్యే॒ష్ఠ॒రాజం॒ బ్రహ్మ॑ణాం బ్రహ్మణస్పత॒ ఆ నః॑ శృ॒ణ్వన్నూ॒తిభి॑స్సీద॒ సాద॑నం ॥

ప్రణో॑ దే॒వీ సర॑స్వతీ॒  వాజే॑భి ర్వా॒జినీ॑వతీ  ధీ॒నామ॑వి॒త్ర్య॑వతు ॥ శ్రీ వాక్ దేవ్యై నమః

గురుర్బ్రహ్మ గురుర్విష్ణుర్ గురుర్దేవో  మహేశ్వరః। 

గురు సాక్షాత్ పరబ్రహ్మ తస్మై శ్రీ గురవే నమః ॥

ॐ ग॒णानां᳚ त्वा ग॒णप॑तिग्ं हवामहे क॒विं क॑वी॒नामु॑प॒मश्र॑वस्तमम् । 

ज्ये॒ष्ठ॒राजं॒ ब्रह्म॑णां ब्रह्मणस्पत॒ आ नः॑ शृ॒ण्वन्नू॒तिभि॑स्सीद॒ साद॑नम् ॥

प्रप्रणो॑ दे॒वी   स्सर॑स्वती॒  वाजे॑भिर्वा॒जिनी॑वती  धी॒नाम॑वि॒त्र्य॑वतु ॥

गुरुर्ब्रह्मा गुरुर्विष्णु र्गुरुर्देवो महेश्वरः  गुरु साक्षात परब्रह्मा तस्मै श्रीगुरवे नमः

ōṃ ga̠ṇānāṃ̎̎̎ tvā ga̠ṇapa̍̍̍tigṃ havāmahē ka̠viṃ ka̍̍̍vī̠nāmu̍̍̍pa̠maśra̍̍̍vastamam । jyē̠ṣṭha̠rājaṃ̠ brahma̍̍̍ṇāṃ brahmaṇaspata̠ ā naḥ̍̍̍ śṛ̠ṇvannū̠tibhi̍̍̍ssīda̠ sāda̍̍̍nam ॥

prapraṇō̍̍̍ dē̠vī  sara̍̍̍svatī̠    vājē̍̍̍bhi rvā̠jinī̍̍̍vatī   dhī̠nāṃ  dhī̠nāma̍̍̍vi̠trya̍̍̍vatu ॥ OM Sri Vagdevai Namaha

GururBrahma GururVishnu GururDevo Maheshwaraha

Guru Saakshaat ParaBrahma Tasmai Sri Gurave Namaha

2. Aksharas (Instruments to connect to Universal Consciousness)
   1. Why letters are important 

1. Devi is mātikā varṇa-rūpinī: Matrka Shaktis create the subtle (sound) forms of Devi.
2. Basis for all Bijaksharas and Mantras, core to any chanting 
3. Foundation for chanting Slokas and Suktams correctly.

2. स्वर/ అచ్చులు/Vowels (16)

अ    అa   அ	इ    ఇi    இ	उ    ఉu    உ	ऋ   ఋṛ     !	ऌ    ఌl    ̥!	ए  ఎ /ఏe/ ē   ஏ	ओ   ఒ/ఓo/ ō     ஓ	अं    అంaṁ   ம்
आ   ఆā   ஆ	ई    ఈī    ஈ	ऊ     ఊū    ஊ	ॠ   ౠṝ        !	ॡ  ౡl̥̄    —	ऐ     ఐ ai  ஐ	औ      ఔau   ஔ	अः    అఃaḥ        :

Useful link:  https://www.youtube.com/watch?v=2UfCGrvfmOY

3. व्यञ्जन/ హల్లులు/Consonants

Origin in Human body	Aghōṣa – (Alpa Pranas)	Aghōṣa(Maha Pranas)	Ghōṣa – (Alpa Pranas)	Ghōṣa – (Maha Pranas)	Anunāsika(Nasal)	Antaḥsthā(Semivowels)	Ūṣman(Aspirate /Sibilant)
kaṇṭhya (Guttural)	क      కka    க	ख       ఖkha க2	ग     గga  க3	घ       ఘgha  க4	ङ    ఙṅa  ங		ह     హha ஹ
tālavya (Palatal)	च      చca     ச	छ      ఛ cha  ச2	ज    జ ja   ஜ3	झ    ఝjha  ஜ4	ञ    ఞña  ஞ	य    యya  ய	श    శśa  ஶ
mūrdhanya (Retroflex)	ट      టṭa     ட	ठ        ఠṭha  ட2	ड      డḍa  ட3	ढ    ఢḍha ட4	ण    ణṇa   ண	र/ळ ర/ళra/ḷa ர/ள	ष     షṣa ஷ
dantya (Dental)	त      తta     த	थ    థtha த2	द     దda  த3	ध    ధdha த4	न     నna நன	ल    లla  ல	स    సsa  ஸ
oṣṭhya (Labial)	प      పpa    ப	फ    ఫpha  ப2	ब    బba  ப3	भ    భbha  ப4	म    మma  ம	व     వva  வ
	ళ     ḻ	क्ष्    క్ష    kṣa				:’	ఽ
Anuswaram Rules	O      ṁ	మ్m	:ḥ	nchñ	ngṅ	ndṇ

3. Human Body –  Beejas/Akshras.
   1. ​Letters Originating in human Body

This is way how letters originated in human body

2. Aksharas and Shatchakras in Human Body

3. Panchopachara Pooja

• Lam- prthivi tattvaatmikaye gandham parikalpayami-
• Ham- akasha tattvatmikaye pushpam parikalpayaami-
• Yam- vaayu tattvaatmikayai dhupam parikalpayani-
• Ram- agni tattvaatmikaye deepam sandarshayaami-
• Vam- Amruta tattvaatmikaye Amruta   Nivedhyam 
• Sam- sarva tattvaat mikaye sarvopacharaan samarpayaami-
•  

• లం- పృథివ్యాత్మనే గంధం పరికల్పయామి। 
• హం- ఆకాశాత్మనే  పుష్పం పరికల్పయామి। 
• యం- వాయవ్యాత్మనే ధూపం పరికల్పయామి।
• రం- అగ్న్యాత్మనే దీపం పరికల్పయామి ।
• వం- అమృతాత్మనే అమృతం పరికల్పయామి ।
• సం- సర్వాత్మనే సమస్తోపచారాన్‌ పరికల్పయామి॥

4. Shodashopachara Pooja

1. Dhyaana-Prayer while Meditating on the deity that is being invoked. Hold the flower in hand, say mantra then offer the flower
2. Aavaahana – Inviting the deity into the altar. Hold another flower say mantra then offer the flower.
3. Asana – Giving the deity a seat. Hold another flower say mantra then offer the flower.
4. Paadya – Washing the deity’s feet with clean water as the mantra is chanted.
5. Arghya – Offering the deity water to rinse hands and mouth as the mantra is chanted.
6. Aachamana – Offering the deity water to drink as the mantra is chanted.
7. Snaana – Bathing the deity with various auspicious items as the mantra is chanted. Chandan – Haldi -Sindoor.
8. Vasthra – Dressing the deity in clean clothes as the mantra is chanted.
9. Yagnopaveetha – Offering the deity a clean sacred thread as the mantra is chanted.
10. Gandha – Spreading fresh sandalwood paste on the deity as the mantra is chanted.
11. Pushpa – Offering fresh flowers while chanting the deity’s names as the mantra is chanted.
12. Dhoopam – Spreading incense smoke throughout the altar as the mantra is chanted
13. Deepam – Waving a lamp to illuminate the freshly decorated deity as the mantra is chanted.
14. Naivedyam – Offering deity food as the mantra is chanted.
15. Taambulam – Offering the deity a refreshing mix of betel nut and leaves as the mantra is chanted.
16. Pradakshina & Namaskara – Offer money, Circumambulating the altar and bidding farewell to the deity as the mantra is chanted.

5. Human body – Gayatri Mantram (total body Tuning)

4. Principles of Vedic Chanting    

There are 6 rules (as per Taittriya Upanishad ) of which 5 apply to Shloka Chanting and the 6th applies to Vedic Chanting (like Rudram).  They are :-

1. Varnam (Pronunciation)

Sanskrit letters are groups based on the place from where there are originating in our body. It represents all Sanskrit base letters. 

2. Maatra (Meter) 

Matra means a “beat” or “unit of time” and this refer to time taken to chant a syllable.

1. Ardha: Half letter — when a word ends in a halanta. (Ex: క్, ఖ్, గ్, ఘ్, ఙ్ద్ etc..)
2. Hraswam: takes 1/6 seconds to utter the vowel occuring at the end of a letter i.e. Pa is made up of P+a and say Sa+ is made up of S+a.  To understand the time factor with a simple measure, 1/6 of a second is the amount of time taken to snap your finger. For eg. chant any consonant and snap your finger. The time taken to say that consonant should take 1/6 of a second or the snap of a finger (Ex: క, ఖ, గ, ఘ, ఙ etc. / अ इ उ ऋ लृ)
3. Deergham : takes about 2.5 times of Hraswam or (1/6 seconds x 2.5 times). A simple measure is 2.5 times snapping of your fingers. For eg. SAA is made up of S+AA and the AA should take 2.5 snaps of your fingers !   (Ex: కా, ఖా, గా, ఘా, ఙా etc. / आ ई ऊ ॠ ए ऐ ओ औ etc.) 
4. Plutam: Plutam takes 3 or more times than that of a Hraswam or (1/6 x 3+) snaps of your fingers.  (ex: ఐ, ఔ/ ए ऐ ओ औ)

In regular chanting, Hraswam and Deergham are most common. And the most common error noted in chanting is elongating the Hraswam and shortening the Deergham. This happens when the Maatras in the sentence are not chanted properly by maintaining the time meter and hence ends up being compensated by the ending Hraswam or Deergham being completed botched up. 

Any shloka or Vedic rik that starts with a “deergham” is usually missed and one should take sufficient care to ensure that this does not occur. For eg. in the famous “YAA-DEVEE SARVA BHOOTESHU…” the “YAA” and “DE” and “VEE” are elongated vowels. In  most cases, “YAA” is chanted as a short vowel and the same goes for “DE” and VEE” too

3. Balam (Strength) 

This refers to the effort placed in uttering a letter. For eg. the letter Ra needs be recited as “Rrra” with a slight grinding on the “r”. The airy “Ha” behind “Tha”, “Kha”, “Jha” etc. needs to be proper whereas most have the tendency not to distinguish between Ta and Tha, Ka and Kha etc. But please note that over-emphasis should also be avoided.

Alpa prāṇa — soft — these are all the regular vowels & Consonants. (Ex: క, చ, ట, త, ప)

Mahā prāṇa — hard — these are all the aspirated consonants also ṣa & ha (Ex: ఖ, ఛ, ఠ, థ, ఫ)

1. Balam means “strength” or “force”, Mahāprāṇa sounds need extra force of breath, compared to regular sounds. 
2. Mahāprāṇa sounds are most important to pronounce correctly, and provide the most energy to the chanter. They stimulate the manipura cakra, and stomach muscles are required to pronounce them
3. We need to sit up straight to pronounce these correctly
4. Place hand on stomach or in front of mouth while learning

4. Saamam (Continuity and smooth flow) 

Sāma means “same” or “even” (Maintain even shruti, speed and volume). One must ensure a continuity and smooth flow of the chanting.  There are many, who are impressed when chanting is done fast. Their understanding is Speed = Excellence / Mastery. This is not necessarily true. It is true only when Speed is achieved without compromise on the quality of chanting. 

5. Samthaanam (Punctuation)

Santānaḥ refers to the flow of sounds according to sandhi and punctuation; breathing is controlled. General rule is to chant with continuous stream of sound, link words together without pauses. In addition, a slight pause is required: —

1. After chanting OM
2. When a word ends in a vowel and is followed by a vowel.
3. When a visarga (ḥ) is followed by kṣa

6. Swaram (Applicable to Vedic Chanting)

This is relevant only for Vedic Chanting. ​A shloka can be chanted any way one wishes i.e with a tune or without a tune (eg. plain reading).  The sāma veda uses 7 musical notes. Chanting of the Rig, yajur and atharvana veda is done using 3 notes only. 

A Vedic mantra does not offer any compromise. The swaras or intonations are non-negotiable.
Main swarams for Vedic chanting (except Sama Veda which has 7 swaras)

1. Swarita (single upper/higher) is the higher pitched intonation. In Vedic texts, it is denoted by a vertical line above the syllable.  A Vedic rik that begins with a Swarita is very challenging to chant. Eg. The famous “Tryamabakam Yajamahe…” begins with an upper swara but is usually missed by many.   (a̍ )
2. Deergha Swarita (elongated or extended) Swarita refers to the double-accented or “double upper/higher” pitched intonation. In Vedic texts, it is denoted by a two vertical lines on top of the syllable.  . (a̎ )
3. Anudatta: This is the lower pitched intonation. In Vedic texts, iIt is denoted by a flat line below the syllable.   (a̱ )  
4. Udatta: This refers to “no swara” or no intonation. In Vedic texts, there is no marking for a syllable that is has a Udatta swara. (a)

The swaritam changes into deergha svarithja in the following situations:— 

• When a mantra ends in a long udātta 

• When a mantra ends in a anusvara which carries the udātta 

• When the udātta is followed by a samyuktākṣara (combined letter such as kṣ, stha, tv etc.

Note: The mastery of Udatta or “no swara” is key to improving Vedic Chanting. This is because, the Udatta is kind of the base line above or below which the Swarita and Anudatta lie. Hence one must know the base Udatta to be able to know how to intone the Swarita and Anudatta. Those who do not have a strong control on Udatta are generally poor chanters.

MUDRAS : When teaching the method of chanting there are certain movements of the hands which are designed to help the memory;

1. Svarita – palm turned up
2. Anudātta – palm down
3. Udātta – hand moved horizontaly to the right
   
   

5. Vedic Chanting Rules    
   1. Rule-01: Chant each Syllable Separately by following Chandas

A syllable can be an anakshara (alphabet) (with or without an elongated vowel) or an inseparable mix of aksharas like “S-Ma” in the word “SMa-RAA-Mi”. In this word, there are 3 syllables viz. SMa, RAA, Mi. The SMA and Mi are non-elongated while RAA is elongated. While chanting that word, try to chant the syllables SEPARATELY rather than as one word. That will ensure that each syllable and the associated vowel (or not) is emphasized properly. Your chanting will improve unbelievably if you focus on this aspect.

A shloka has a metre or “chandas” called Gayathri, Anushtup etc. A chandas or metre means it is made up of a certain count of syllables eg. Gāyatrī (24), Uṣṇih (28),  Brhatī(36), Pańkti(40), Triṣṭubh(44), and Jagatī(48)..

1. Gāyatrī (24 syllables – 3 x8): the stanza usually consists of 24 akṣaras, generally as a triplet of 3 Pādas of 8 akṣaras each, or in one line of 16 akṣaras and a second line of 8. 

oṃ tatpuruṣāya vidmahe | mahādevāya dhīmahi | tanno rudra pracodayāt ||

2. Uṣṇih (28): the stanza usually consists of 28 akṣaras. 
3. Anuṣṭubh(32 syllables – 4×8 -4 Pādas of 8 akṣaras each 2 Pādas forming a line). 

This is one of the most popular metre in which many popular and well-known shlokas have been composed. For eg. the famous Ganesh Shloka “Shuklam Bharadaram…”, Lalita Sahasranamam “Shree Maata Shree Mahaa Ragnyee..”etc.

శ్రీ మాతా, శ్రీ మహారాజ్ఞీ, శ్రీమత్-సింహాసనేశ్వరీ ।
చిదగ్ని కుండసంభూతా, దేవకార్యసముద్యతా ॥ 1 ॥

श्री माता, श्री महाराज्ञी, श्रीमत्-सिंहासनेश्वरी ।
चिदग्नि कुण्डसम्भूता, देवकार्यसमुद्यता ॥ 1 ॥

śrī mātā, śrī mahārājñī, śrīmat-siṃhāsanēśvarī ।
chidagni kuṇḍasambhūtā, dēvakāryasamudyatā ॥ 1 ॥

ಶ್ರೀ ಮಾತಾ, ಶ್ರೀ ಮಹಾರಾಜ್ಞೀ, ಶ್ರೀಮತ್-ಸಿಂಹಾಸನೇಶ್ವರೀ ।
ಚಿದಗ್ನಿ ಕುಂಡಸಂಭೂತಾ, ದೇವಕಾರ್ಯಸಮುದ್ಯತಾ ॥ 1 ॥

ஶ்ரீ மாதா, ஶ்ரீ மஹாராஜ்ஞீ, ஶ்ரீமத்-ஸிம்ஹாஸநேஶ்வரீ ।
சித³க்³நி குண்ட³ஸம்பூ⁴தா,தே³வகார்யஸமுத்³யதா॥ 

2. Rule-02: Pronounce Alpa & Mahapranas as they are 

 Differentiate between क/ క/Ka  and ख/ ఖ/Kha

 ఉద్యద్భాను సహస్రాభా, చతుర్బాహు సమన్వితా ।
రాగస్వరూప పాశాఢ్యా, క్రోధాకారాంకుశోజ్జ్వలా ॥ 2 ॥

 उद्यद्भानु सहस्राभा, चतुर्बाहु समन्विता ।
  रागस्वरूप पाशाढ्या, क्रोधाकाराङ्कुशोज्ज्वला ॥ 2 ॥

 udyadbhānu sahasrābhā, chaturbāhu samanvitā ।
  rāgasvarūpa pāśāḍhyā, krōdhākārāṅkuśōjjvalā ॥ 2 ॥

 ಉದ್ಯದ್ಭಾನು ಸಹಸ್ರಾಭಾ, ಚತುರ್ಬಾಹು ಸಮನ್ವಿತಾ ।
  ರಾಗಸ್ವರೂಪ ಪಾಶಾಢ್ಯಾ, ಕ್ರೋಧಾಕಾರಾಂಕುಶೋಜ್ಜ್ವಲಾ ॥ 2 ॥

  உத்³யத்³பா⁴நு ஸஹஸ்ராபா⁴, சதுர்பா³ஹு ஸமந்விதா ।
  ராக³ஸ்வரூப பாஶாட்⁴யா,க்ரோதா⁴காராஂகுஶோஜ்ஜ்வலா॥2

3.  Rule-03: Take care of Hraswam & Deergham  

 When you are chanting slokas, you will come across 4 combinations. So, be cautious and chant letters as they are. 

1. Hraswam joins Hraswam (i.e Short-Short)
2. Hraswam joins Deergham (ie Short – Long)
3. Deergham joins Hraswam (ie Long – Short)
4. Deergham joins Deergham (ie Long – Long)

మనోరూపేక్షుకోదండా, పంచతన్మాత్ర సాయకా ।
నిజారుణ ప్రభాపూర మజ్జద్-బ్రహ్మాండమండలా ॥ 3 ॥

చంపకాశోక పున్నాగ సౌగంధిక లసత్కచా
కురువింద మణిశ్రేణీ కనత్కోటీర మండితా ॥ 4 ॥

मनोरूपेक्षुकोदण्डा, पञ्चतन्मात्र सायका ।
निजारुण प्रभापूर मज्जद्-ब्रह्माण्डमण्डला ॥ 3 ॥
चम्पकाशोक पुन्नाग सौगन्धिक लसत्कचा
कुरुविन्द मणिश्रेणी कनत्कोटीर मण्डिता ॥ 4 ॥

manōrūpēkṣukōdaṇḍā, pañchatanmātra sāyakā ।
nijāruṇa prabhāpūra majjad-brahmāṇḍamaṇḍalā ॥ 3 ॥
champakāśōka punnāga saugandhika lasatkachā
kuruvinda maṇiśrēṇī kanatkōṭīra maṇḍitā ॥ 4 ॥

ಮನೋರೂಪೇಕ್ಷುಕೋದಂಡಾ, ಪಂಚತನ್ಮಾತ್ರ ಸಾಯಕಾ ।
ನಿಜಾರುಣ ಪ್ರಭಾಪೂರ ಮಜ್ಜದ್-ಬ್ರಹ್ಮಾಂಡಮಂಡಲಾ ॥ 3 ॥
ಚಂಪಕಾಶೋಕ ಪುನ್ನಾಗ ಸೌಗಂಧಿಕ ಲಸತ್ಕಚಾ
ಕುರುವಿಂದ ಮಣಿಶ್ರೇಣೀ ಕನತ್ಕೋಟೀರ ಮಂಡಿತಾ ॥ 4 ॥

மநோரூபேக்ஷுகோத³ண்டா³, பஂசதந்மாத்ர ஸாயகா ।
நிஜாருண ப்ரபா⁴பூர மஜ்ஜத்³-ப்³ரஹ்மாண்ட³மண்ட³லா ॥ 3 ॥
சம்பகாஶோக புந்நாக³ ஸௌக³ந்தி⁴க லஸத்கசா
குருவிந்த³ மணிஶ்ரேணீ கநத்கோடீர மண்டி³தா ॥ 4 ॥

4. Rule-04: Replace Visarga (अः/aḥ/:) with appropriate letter as given below

There is a general tendency to chant the Visarga (denoted by a colon : for “Ha” sound) as “a” always. This is NOT correct.  The akshara or alphabet succeeding the Visarga “Ha” dictates its pronunciation. 

S.No	If following letters after Visarga (:) is	Then replace Visarga (:)  with the following letter
1	स / స /Sa/ ஸ	स /  స్ / S/ ஸ
2	श/ శ/ śa/ ஶ	श/ శ్ / ś/ ஶ
2	ष/ ష/ ṣa/ ஷ	ष/ ష్ / ṣ/ ஷ
4	प / ప/ pa/ ப	f
5	फ/ ఫ/ pha/ ப2	f
6	क/ క/ Ka/ க	హక్ /ahk
7	ख/ ఖ/ Kha/க2	హఖ్ /ahkh
8	ब / బ/Ba/ப3	ర్
9	द/ద/Da/த3	ర్
10	न/ న/ Na/ நன	ర్
11	त / త /Ta/ த	स / స్ /Sa/ ஸ
12	च/చ/Ca/ச	श/ శ్/Śa/ஶ
13	ट/ట/ṭa/ட	ष/ ష్ /ṣa/ஷ
	Other places use	र/ ర్ /Ra/ ர
14	क्ष्/ క్ష/Ksha/	It is ALWAYS compulsory to chant Visarga “ha” with a slight pause after if the following akshara is “Ksha/ క్ష”)

కళానిధిః, కావ్యకళా, రసజ్ఞా, రసశేవధిః ।
పుష్టా, పురాతనా, పూజ్యా, పుష్కరా, పుష్కరేక్షణా ॥ 152 ॥
పరంజ్యోతిః, పరంధామ, పరమాణుః, పరాత్పరా ।
పాశహస్తా, పాశహంత్రీ, పరమంత్ర విభేదినీ ॥ 153 ॥

कलानिधिः, काव्यकला, रसज्ञा, रसशेवधिः ।
पुष्टा, पुरातना, पूज्या, पुष्करा, पुष्करेक्षणा ॥ 152 ॥
परञ्ज्योतिः, परन्धाम, परमाणुः, परात्परा ।
पाशहस्ता, पाशहन्त्री, परमन्त्र विभेदिनी ॥ 153 ॥

kaḻānidhiḥ, kāvyakaḻā, rasajñā, rasaśēvadhiḥ ।
puṣṭā, purātanā, pūjyā, puṣkarā, puṣkarēkṣaṇā ॥ 152 ॥
parañjyōtiḥ, parandhāma, paramāṇuḥ, parātparā ।
pāśahastā, pāśahantrī, paramantra vibhēdinī ॥ 153 ॥

ಕಳಾನಿಧಿಃ, ಕಾವ್ಯಕಳಾ, ರಸಜ್ಞಾ, ರಸಶೇವಧಿಃ ।
ಪುಷ್ಟಾ, ಪುರಾತನಾ, ಪೂಜ್ಯಾ, ಪುಷ್ಕರಾ, ಪುಷ್ಕರೇಕ್ಷಣಾ ॥ 152 ॥
ಪರಂಜ್ಯೋತಿಃ, ಪರಂಧಾಮ, ಪರಮಾಣುಃ, ಪರಾತ್ಪರಾ ।
ಪಾಶಹಸ್ತಾ, ಪಾಶಹಂತ್ರೀ, ಪರಮಂತ್ರ ವಿಭೇದಿನೀ ॥ 153 ॥

கல்தா3நிதி4:, காவ்யகல்தா3, ரஸஜ்ஞா, ரஸஶேவதி4: ।
புஷ்டா, புராதநா, பூஜ்யா, புஷ்கரா, புஷ்கரேக்ஷணா॥152॥
பரஂஜ்யோதி:, பரந்தா4ம, பரமாணு:, பராத்பரா ।
பாஶஹஸ்தா, பாஶஹந்த்ரீ, பரமந்த்ர விபே4தி3நீ ॥153॥

5. Rule-05: Replace Anusvaram (अं/aṁ/o) with appropriate Letter

S.No	If following letter after anusvaram (o) is	O/ṁ Changes to root letters (half akshra) of following letters.
1	क, ख, ग, घ, ङ	ङ
	క, ఖ, గ, ఘ, ఙ	ఙ్ (like ng)
	ka kha ga gha ṅa	ṅ
2	च, छ. ज,  झ, ञ	ञ
	చ, ఛ ,జ, ఝ, ఞ	ఞ్ (like nch)
	ca cha ja jha ña	ñ
3	ट , ठ, ड, ढ, ण	ण
	ట, ఠ, డ, ఢ, ణ	ణ్
	ṭa, ṭha, ḍa, ḍha, ṇa	ṇ
4	त, थ, द, ध, न	न
	త, థ, ద, ధ, న	న్
	Ta, tha, da, dha, na	n
5	प, फ, ब, भ, म	म
	ప, ఫ, బ, భ, మ	మ్
	Pa, pha, ba, bha, ma	m
6	ल/ల/La	/ల్ /L
7	य /య/Ya	/య్ /Y
8	व/వ/Va	/వ్ / V
9	श,ष, स, ह, य, र
	శ, ష, స, హ, య, ర	గ్oమ్
	Śa, ṣa, sa, ha, ya, ra	guṁ
10	samyukta akṣara (combined letter) with following s as main letters– श,ष, स, ह, य, र/ – శ, ష, స, హ, య, ర – Śa, ṣa, sa, ha, ya, ra	/గ్ గ్/gg

        Ex1: From Lalitha Sahasranamam

శింజాన మణిమంజీర మండిత శ్రీ పదాంబుజా ।
మరాళీ మందగమనా, మహాలావణ్య శేవధిః ॥ 20 ॥
సర్వారుణాఽనవద్యాంగీ సర్వాభరణ భూషితా ।
శివకామేశ్వరాంకస్థా, శివా, స్వాధీన వల్లభా ॥ 21 ॥

शिञ्जान मणिमञ्जीर मण्डित श्री पदाम्बुजा ।
मराली मन्दगमना, महालावण्य शेवधिः ॥ 20 ॥
सर्वारुणाऽनवद्याङ्गी सर्वाभरण भूषिता ।
शिवकामेश्वराङ्कस्था, शिवा, स्वाधीन वल्लभा ॥ 21 ॥

śiñjāna maṇimañjīra maṇḍita śrī padāmbujā ।
marāḻī mandagamanā, mahālāvaṇya śēvadhiḥ ॥ 20 ॥
sarvāruṇā’navadyāṅgī sarvābharaṇa bhūṣitā ।
śivakāmēśvarāṅkasthā, śivā, svādhīna vallabhā ॥ 21 ॥

ಶಿಂಜಾನ ಮಣಿಮಂಜೀರ ಮಂಡಿತ ಶ್ರೀ ಪದಾಂಬುಜಾ ।
ಮರಾಳೀ ಮಂದಗಮನಾ, ಮಹಾಲಾವಣ್ಯ ಶೇವಧಿಃ ॥ 20 ॥
ಸರ್ವಾರುಣಾಽನವದ್ಯಾಂಗೀ ಸರ್ವಾಭರಣ ಭೂಷಿತಾ ।
ಶಿವಕಾಮೇಶ್ವರಾಂಕಸ್ಥಾ, ಶಿವಾ, ಸ್ವಾಧೀನ ವಲ್ಲಭಾ ॥ 21 ॥

ஶிஂஜாந மணிமஂஜீர மண்டி3த ஶ்ரீ பதா3ம்பு3ஜா ।
மரால்தீ3 மந்த3க3மநா, மஹாலாவண்ய ஶேவதி4: ॥ 2௦ ॥
ஸர்வாருணாநவத்3யாங்கீ3 ஸர்வாப4ரண பூ4ஷிதா
ஶிவகாமேஶ்வராஂகஸ்தா2, ஶிவா, ஸ்வாதீ4ந வல்லபா4 ॥ 21 ॥

6. Rule-06: Stress on first letter of Mixture of Aksharas (pra, kra etc..) 

“CATCHING” THE “IP”, “IM”, “IT” etc.: : Please observe aksharas or syllables like “Pra” (akshara) or “Tra” / “Kra” etc (syllables). They are made up of a mix of 2 alphabets like and can appear anywhere in a word – in the beginning, middle or at the end.

• (Pa+Ra) = Pra (eg. “Pra-Naam) ,  (Ta+Ra) = Tra (Eg. “Tat-Tra)
• (Ka+Ra) = Kra (eg. “Kra-mam”),  (Da+Ra) = Dra (eg. “Rud-draaya”)

When Vowel followed two/more consonants like (Vowel+Consonent1+Consonent2), then we need to put stress on C1.   

Exceptions:  

1. Rule not applicable when compound letter is first letter in the slokas.

If  “र/ ర/Ra/ ர”  or  “ह /  హ / Ha / ஹ“ comes as C1, then stress will on C2. 

7. Rule-07: Hold letters at appropriate places   

Holding should be followed in the following cases where we see Half Akshara

1. Half letters which comes alone
2. Letters added in place of Visaraga (:) 
3. Letters added in place of Anusavaras (m)

8. Rule-08: Deergha Vowel followed by Vowel – slight pause required in chanting

There must be slight pause or gap between a word that ends with Deergha Vowel and a succeeding word that commences with a Vowel. 

Ex: While chanting “NamastE – Astu Bhagavan Vishweshwaraya..” in Rudram, there must be a slight pause after chanting “NamastE” and before chanting “Astu”. This is because “rE” ends with an elongated vowel “E” and is followed by a Vowel “A” and the two words must be separate by a slight pause.

9. Rule-09: Two Successive Lower Swaras (Applicable to Vedic Chanting like Rudram) 

Where two or more successive swaras, appear, the last lower swara must be emphasized more i.e. the intonation must be one level lower than the previous lower swaras. For eg. in Laghunyasam, we have “Osha-dhi-vanas-patayo me…” where there are consecutive lower swaras, with the last one being on “ta” where one has to go down in intonation further than the previous swaras.

6. Learning Material, Practice Groups & Practice Groups  
   1. Class scripts and Audios 

I have shared folder with you containing scripts and Audio files.  As we progress further (as needed), I will provide additional scripts/Audio for your practice. 

2. Your practice recordings  

I am also sharing one personal folder (through google drive) on your name to upload and maintain your latest recordings. Please treat recordings you are uploading to this folder as your offering to god/goddess you are learning slokas. By this end of this program you should be ready to offer to god/goddess fluently without mistakes.  As no one has access (except to me), please upload without any hesitation. 

3. Practice & FB (Feedback) Groups

In this spiritual journey, chanting Devine Hymns fluently without mistakes with Bhavan is very critical. For this to happen, we need to work together and help each other to reach our goal/destination.  Key features are — 

1. Group of like-minded people to get your doubts clarified and exchange views. I am maintaining diversity as much as possible. But if you have any preference please let me know. 
2. Group practice: This is optional based on your schedules, but nice to have as many groups benefitted through this process. 
3. Group feedbacks:  After your self-assessment, post your recording in that group so that other group members can give feedback to the best of their ability. Request everyone to provide feedback so that you know where other people are doing mistakes. This is the critical step for groups success/failure. 

7. Assessment Process (Self, Group, Mentor and Final assessments)  
   1. Don’t skip the classes: 

Pls attend the classes without fail unless you have personal issues

2. Practice: 

Do through practice using scripts & audios files shared with you. 

3. Record: Record 

slokas by using any free recording apps (ex: Voice Recorder, Voice memo) and try to save the file with your name and chapter name. (Imp Note:  Please do not record directly in WhatsApp). 

Note: If you have issues in recording entire chapter in single recording, break the chapters into multiple recordings with minimum 10 slokas in each recording (Note: final goal is to record at least 40 or more slokas in single record).

4. Assessments method: 

Please do your own self- assessment or Groups members OR Mentor assessment by following these steps. This is very important steps as most of the mistakes you can correct by yourself. Pls follow one of the following method. 

Method-01 (best Method)

7.4.1.1: Keep the following items ready (as shown). If possible, maintain Pouch. 

1. Expo Dry eraser (At least 1 Qty, small size preferably Red/Green/Blue)
2. Sheet Protector (As needed for all chapters, but at least one Qty). Try to maintain the binder as shown below (self-assessment scripts will be provided by me. 

74.1.1: Insert script copy into the sheet protector and write your name & date at the top. Then play your recording and identity the mistakes by following the script. If they are any pronunciation issues, just put dot on top of the mispronounced letter. (example shown below is for Durga Saptasati and slokas you are currently learning may be different than this example)

7.4.1.3: After identifying the mistakes, count all mistakes and write count at the top. Take picture. (Note: Here as you are marking on top of the protection sheet, use can reuse the actual script for next assessment without taking another printout and also marking on sheet protector can be erased using  paper napkin so that you can reuse sheet protector as well for next assessment)

Method-02 (Best Method)

7.4.2:  If you don’t have any one these please write all mistakes on piece of paper as shown below

Method-03 (Only exceptional scenarios)

If you are not in position to write mistakes, Identify and record mistakes and send the record to the order person. Pls note this use this option only under exceptional scenario but not every time.  

Method-04 (Only exceptional scenarios)

If you are not in position to write mistakes or record them, then pls call other person to Convery mistakes. Pls note this use this option only under exceptional scenario but not every time.  

5. Recordings Feedback Process
6. Step-1: Self-assessment: Here you need to self-assessments to correct any possible mistakes without worrying about number of mistakes.  After that post recordings & self-assessment (both are mandatory)  in your respective WhatsApp group (Note: As this your 1^st recording is a draft version, please don’t post on google drive and don’t update the tracker at this stage).  

2. Step-2: Group Member(s) assessments: Get the feedback from at least one member (excluding mentor and yourself) from your group. Based on the feedback, please record and post your (2^nd version) recording & self-assessment in your WhatsApp group. At this stage without waiting for feedback from your group members, upload recording to the google drive & update the Master tracker. After that please try to get the feedback from another group member (2nd person in your group, not mentor). Based on the feedback make the suggested corrections and record (3rd version) and post in your group and inform your mentor to review.

3. Step-3: Group Mentor feedback/Assessment: Your group mentor will review and provide the feedback. Based on the feedback if needed record again (4^th version) and upload in your google drive. Mentor schedules weekly helping/ assessment calls to review your individual/ groups progress.

4. Step-4: on going assessments: After above 3 assessments, we will schedule practice sessions for further fluency improvement and to correct any mistakes. 

5. Step-5: As we procced further, in regular intervals (at least once in a in a month),rerecord and
   1. Post in your group along with self-assessment 
   2. Post on the google drive
   3. Update the master tracker.

 Please keep practicing through all steps and make sure to upload your latest and best recording in your google drive. To avoid confusion, follow the correct format of naming your audios while uploading to google drive.

8. Common mistakes and Tips for Quality Chanting 
   1. In correct Chanting

 6 incorrect ways of chanting  (“Adhama” chanting). These were:

1. Geeti: Singing like a song
2. Sheegri: Going fast – incorrect speedy chanting
3. Shira Kapi: Head and also body shaking without actually changing swaras
4. Likhipathak: Reading Vedas from book written by himself
5. Anarthangya: Chanting without understanding the meaning
6. Alpakanta: Feeble/low voice.

2. Common mistakes 

1. Letter missed/Extra letters added
2. Aplaprana & Mahaprana Mistake:  Pronounced Alpapranam as Mahapranam Or Vice Versa.  (focus closely on letter in the line as many people pronounce Hrasvam as Dheergam)
3. Hrasavam & Deergham Mistake:  Pronounced Hrasavam as Deergham  Or Vice Versa. 
4. Visarga Mistake: Not followed visarga Rule. Note: Add-on letter should be audible and stressed 
5. Slow Speed:  Not chanting at the expected speed to avoid mistakes. 
6. Hesitation:  Stuck while chanting and not be able to go to next word in the slokam.
7. Repetition:  Repeat the same word again without going to next word/line.
8. Stop within the line: Have stop/breaks within each slokam line.
9. Stop Across lines: Have stop/breaks between slokam line.  Pause is fine.
10. Anusvaram Mistake:  Not followed Anusvaram Rule with stress on add-on letter
11. Not Putting stress on first letter in Samyuktasharas. (exception for Ra and Ha stress on 2^nd letter) 

3. Things that helps for fluent and mistakes free chanting

1. Pls use only Authentic scripts: When attempting to learn a Sanskrit sloka or sukta, start with reference material from a reputed source that uses a standard transliteration scheme to correctly distinguish all the sounds of Sanskrit and use bigger font letters where ever it is available. Ex: Geeta Press, Sringeri Sarada Peetam, Ramakrishna Matt, Satya Sai etc..  
2. Respect each Akshara/Letter:  Show utmost respect to each Akshara, word or phrase. They will fetch you respect in turn. Shower your attention on them and linger over them with affection as you enunciate the Aksharas, words and phrases. Then see the effect it has on your soul and how the audience gets engaged in the puja or ritual being performed.
   One analogy to explain the above is that of a “Guard of Honour” where the dignitary walks through the rows of soliders and does not miss anyone. Imagine you are standing in a queue and a dignitary ignores you and walks past you to meet the other people. How do you feel? You should bring the same “bhavna” or emotion to your chanting. Each Askhara, word or phrase should be like a living and breathing person to you and not as an inanimate, dry and dreary prints on a page. Show them respect and see the amount of respect they fetch you
3. Use Authentic Audios: Augment your reading with listening to recordings from authentic Vedic scholars (e.g. Challakere Brothers for Rudram, Prakash Kaushik for Devi Mahatyam).  
4. Always carry Pen/Pencil with you: Please use Pen, pencil to mark the Chanting rules/notes so that it will help you for fluent chanting rather than thinking of rules during actual chanting.
5. Word of Caution: Incorrectly, learned pronunciation or intonation is hard to unlearn!
6. Record and listed to yourself: If you record your rendition after you have become confident (after practicing long and hard) and then listen to yourself, it can be the best method for bringing dramatic improvements in your chanting. This is because, when we practice, we may think that we are doing it correctly. But once we listen to our chanting, it is a reality check and can make us aware of our errors as well as the good parts. This will lead to focusing on our errors and as well as creating confidence due to the good parts. Keeping records of your past practice sessions and listening to them after a month or two will tell you what improvements you have made in your chanting since the 1st recording This can be quite some fun and make you blush at listening to what you thought had been a good rendition in the past !
7. Practice long, hard and slowly and deliberately and employ a high pitch and high volume.  It will improve your stamina and breathing. You will also master all the nuances. Mastery over the words and phrases will gradually result in a natural and quality increase in your speed of chanting
8. Avoid feeble/low voice: Make sure you are producing a good volume with your voice. Some people murmur or practice in a low pitch. It is of no use when you have to perform in public as a lot of stamina is required and without good practice, you can get tired very fast. 
9. Follow the below sequence if you have pronunciation issues.
   1. First, practice only that letter    
   2. Then, practice only that word or phrase   
   3. Then practice that word or phrase with the sentence before and after  the sentence that you have difficulty with 
   4. Then practice that word or phrase with a few sentence before and after that challenging sentence.
10. Practice immediately after the class. This will improve retention. 
11. There is NO end to practice. Your quality of chanting will depend on the amount of time you invest in it.  PKP (Please keep practicing) 
12. Closing Vedic Slokas     
    1. Devi Kshama Prardhana & Sri Cakravasini Mangalam Song

అపరాధసహస్రాణి క్రియంతేఽహర్నిశం మయా ।

దాసోఽయమితి మాం మత్వా క్షమస్వ పరమేశ్వరి ॥1

ఆవాహనం న జానామి న జానామి విసర్జనం ।

పూజాం చైవ న జానామి క్షమ్యతాం పరమేశ్వరి ॥2

మంత్రహీనం క్రియాహీనం భక్తిహీనం సురేశ్వరి ।

యత్పూజితం మయా దేవి పరిపూర్ణం తదస్తు మే ॥3

అపరాధశతం కృత్వా జగదంబేతి చోచ్చరేత్ ।

యాం గతిం సమవాప్నోతి న తాం బ్రహ్మాదయఃసురాః॥4

సాపరాఽధోస్మి శరణం ప్రాప్తస్త్వాం జగదంబికే ।

ఇదానిమనుకంప్యోఽహం యథేచ్చసి తథా కురు ॥5

అజ్ఞానాద్విస్మృతేర్ర్భాంత్యా యన్యూన-మధికంకృతం । 

తత్సర్వం క్షమ్యతాం దేవి ప్రసీద పరమేశ్వరి ॥6

కామేశ్వరి జగన్మాతః సచ్చిదానందవిగ్రహే ।

గృహణార్చామిమాం  ప్రీత్యా ప్రసీద పరమేశ్వరి ॥7

గుహ్యాతి-గుహ్య-గోప్త్రీ త్వం గృహాణాస్మత్కృతం  జపం ।

సిధ్ధిర్భవతు  మే దేవి త్వత్ప్రసాదాత్సురేశ్వరి ॥8

।। సర్వం శ్రీ దుర్గమాతృ చరణారవిందర్పణ-మస్త్రు।।

  రాజరాజేశ్వరీ దేవి హారతి

శ్రీచక్రవాసిని దేవి నమస్తే-శివకామసుందరి దేవి నమస్తే 

శ్రీకృష్ణసోదరి దేవి నమస్తే-రాజరాజేశ్వరి దేవి నమస్తే ॥1

శక్తి పరమేశ్వరి దేవి నమస్తే శంభు మనమోహిని దేవినమస్తే।

శంకరి మహేశ్వరి దేవి నమస్తే రాజరాజేశ్వరి దేవి నమస్తే ॥2

కరుణా విలాసిని దేవి నమస్తే రాజరాజేశ్వరి దేవి నమస్తే ॥3

పద్మదళలోచని దేవి నమస్తే భక్త పరిపాలిని దేవి నమస్తే ।

పర్వతవర్ధిని దేవి నమస్తే రాజరాజేశ్వరి దేవి నమస్తే  ॥4

అన్నపూర్ణేశ్వరి దేవి నమస్తే అఖిలాండేశ్వరి దేవి నమస్తే ।

అభయప్రదాయిని దేవి నమస్తే రాజరాజేశ్వరి దేవి నమస్తే ॥5

2. Devi Slokam   – Telegu 

        శ్రీ విద్యాం శివవామ భాగ నిలయాం – హ్రీంకార మంత్రోజ్వలాం

        శ్రీ చక్రాంకిత బిందు మధ్య వసతీం – శ్రీ మత్సభా నాయకీం 

        శ్రీ మత్షణ్ముఖ విఘ్నరాజ జననీం – శ్రీ మజ్జగన్మోహినీం 

        మీనాక్షీం ప్రణతోస్మి సంతత మహం- కారుణ్య వారాం నిధీం

3. శాంతి మంత్రము/ Closing  Slokam   – Telegu 

ఓం పూర్ణమదః పూర్ణమిదం పూర్ణాత్ పూర్ణముదచ్యతే । 

పూర్ణస్య పూర్ణ మాదాయ పూర్ణమేవావశిష్యతే ॥

ఓం సహ నా భవత్తు ।  సహ నౌ భునక్తు ।  సహ వీర్యం కరవావహై ।  

తేజస్వి నావధీత మస్తు మా విద్విషావహై ॥ ఓం శాంతిః శాంతిః శాంతిః ॥ 

ॐ पूर्णमदः पूर्णमिदम् पूर्णात् पूर्णमुदच्यते |  पूर्णस्य पूर्णमादाय पूर्णमेवावशिष्यते ||  

ॐ सह नाववतु |  सह नौ भुनक्तु | सह वीर्यं करवावहै |

तेजस्विनावधीतमस्तु मा विद्विषावहै || ॐ शान्तिः शान्तिः शान्तिः ||

oṃ pūrṇamadaḥ pūrṇamidam pūrṇāt pūrṇamudacyate  

pūrṇasya pūrṇamādāya pūrṇamevāvaśiṣyate  oṃ śāntiḥ śāntiḥ śāntiḥ

oṃ saha nāvavatu    saha nau bhunaktu   saha vīryaṃ karavāvahai  

tejasvināvadhītamastu mā vidviṣāvahai  oṃ śāntiḥ śāntiḥ śāntiḥ

10. Appendix 01- Telugu Compound Letters  
    1. Compound letters – Telugu_01 (Vowel + Consonants) 

అ

ఆ

ఇ

ఈ

ఉ

ఊ

ఋ

ౠ

ఎ

ఏ

ఐ

ఒ

ఓ

ఔ

అం

అః

క్

క

కా

కి

కీ

కు

కూ

కృ

కౄ

కె

కే

కై

కొ

కో

కౌ

కం

కః

ఖ్

ఖ

ఖా

ఖి

ఖీ

ఖు

ఖూ

ఖృ

ఖౄ

ఖె

ఖే

ఖై

ఖొ

ఖో

ఖౌ

ఖం

ఖః

గ్

గ

గా

గి

గీ

గు

గూ

గృ

గౄ

గె

గే

గై

గొ

గో

గౌ

గం

గః

ఘ్

ఘ

ఘా

ఘి

ఘీ

ఘు

ఘూ

ఘృ

ఘౄ

ఘె

ఘే

ఘై

ఘొ

ఘో

ఘౌ

ఘం

ఘః

ఙ్

ఙ

ఙా

ఙి

ఙీ

ఙు

ఙూ

ఙృ

ఙౄ

ఙె

ఙే

ఙై

ఙొ

ఙో

ఙౌ

ఙం

ఙః

2. Compound letters – Telugu_02 (Consonants + Consonants) 

క

ఖ

గ

ఘ

ఙ

చ

ఛ

జ

ఝ

ఞ

ట

ఠ

డ

ఢ

ణ

త

థ

ద

ధ

న

క

క్క

క్ఖ

క్గ

క్ఘ

క్ఙ

క్చ

క్ఛ

క్జ

క్ఝ

క్ఞ

క్ట

క్ఠ

క్డ

క్ఢ

క్ణ

క్త

క్థ

క్ద

క్ధ

క్న

ఖ

ఖ్క

ఖ్ఖ

ఖ్గ

ఖ్ఘ

ఖ్ఙ

ఖ్చ

ఖ్ఛ

ఖ్జ

ఖ్ఝ

ఖ్ఞ

ఖ్ట

ఖ్ఠ

ఖ్డ

ఖ్ఢ

ఖ్ణ

ఖ్త

ఖ్థ

ఖ్ద

ఖ్ధ

ఖ్న

గ

గ్క

గ్ఖ

గ్గ

గ్ఘ

గ్ఙ

గ్చ

గ్ఛ

గ్జ

గ్ఝ

గ్ఞ

గ్ట

గ్ఠ

గ్డ

గ్ఢ

గ్ణ

గ్త

గ్థ

గ్ద

గ్ధ

గ్న

ఘ

ఘ్క

ఘ్ఖ

ఘ్గ

ఘ్ఘ

ఘ్ఙ

ఘ్చ

ఘ్ఛ

ఘ్జ

ఘ్ఝ

ఘ్ఞ

ఘ్ట

ఘ్ఠ

ఘ్డ

ఘ్ఢ

ఘ్ణ

ఘ్త

ఘ్థ

ఘ్ద

ఘ్ధ

ఘ్న

ఙ

ఙ్క

ఙ్ఖ

ఙ్గ

ఙ్ఘ

ఙ్ఙ

ఙ్చ

ఙ్ఛ

ఙ్జ

ఙ్ఝ

ఙ్ఞ

ఙ్ట

ఙ్ఠ

ఙ్డ

ఙ్ఢ

ఙ్ణ

ఙ్త

ఙ్థ

ఙ్ద

ఙ్ధ

ఙ్న

11. Human body – A Devine Temple