There are many different ways how the pali stanzas are recited. I would like to know the ideas of the ven sangha and everyone else on this topic. Especially I’m trying to find out the definition of gitassara which is forbidden by vinaya.
As a previous musician I would like to know the ideas of Bhante Sujatho with utmost respect,
It’s difficult to get a clear definition and I wonder whether only the monotone method is allowed. The vinaya commentary says out of the 32 vattas one can be used as long as it doesn’t distort the grammar,meaning and if it’s a melody suitable for the monastics ,if I’m right, (I’m unable right now to give the precise quote here.)
Regarding the rules based on musical notes is there a clear definition between what’s sarabhañña and what’s gitassara?
Another term found in the kasibharadvaja sutta is gatabhigitam. I would like to know the comments on this as well, as it was a method used by the Buddha in that occasion.
Sona sutta also has some comments given by the Lord Buddha, on the recitation done by bhikkhu Sona.
Sara here refers to the Vedic accents, of which there are three. There’s a nice explanation here.
Now, Pali is normally not considered to use the tones like Vedic Sanskrit, but this expression suggests that a similar chanting style was in use. It is comparable to the Thai Pali chanting, where the tones of Thai are partially applied to Pali to create a distinctive melody.
The basic idea is that it is fine to recite Pali with a few tones. These actually help to memorize and stabilize the chant; true monotone is hard!
Gīta of course means “song”, so this would refer to a more elaborate song style, with a developed melody. In response to the love song of Pañcasikha, the Buddha said, “Pañcasikha, the sound of your strings blends well with the sound of your singing” (saṁsandati kho te, pañcasikha, tantissaro gītassarena, gītassaro ca tantissarena, DN 21:1.6.2).
If you haven’t already seen it, I would recommend Bhikkhus Mihita’s fascinating 50-page paper on the subject, Sarabhañña, an Esthetic Delivery of Dhamma: Origins and Structure.
And a couple of examples of how the style is nowadays conceived…
The Buddhajayamaṅgalagāthā, chanted in the Magadha, saṁyoga and sarabhañña styles (Sri Lanka-influenced Indonesian)
Homage to the Triple Gem in Thai-style sarabhañña, with mixed Pali and Thai
Your comments were very useful, other wise every time I chant I feel like, was that OK, to use few tones, (apparently guilt feeling is not good,) so now I agree because true monotone is hard for me as well, so as long as lengthy recitation (ayata) is not done, and without many tones and much musical melodies, it’s acceptable. I think I will be able to do that studying the given examples, using minimum tones.
Namaskara, bhante, (REddison) my respected gratitude for your kind reply as well, it was very useful, the document as well as the examples,we can get an idea about what real sarabañña is. And chant without any hesitation..
