• mṛdaṅga - paṭahāḥ — mṛdaṅga and paṭaha drums
  Mṛdaṅga is the two-headed clay drum central to Gauḍīya saṅkīrtana — the same drum Caitanya Mahāprabhu's saṅkīrtana parties carried through Navadvīpa. The verse plants the mṛdaṅga at the bride's first procession to the Lord; Gauḍīya tradition picks it up and never sets it down.
• śaṅkha — conchshell
  The conch sounded at every Vedic auspicious moment — Kṛṣṇa's own conch is Pāñcajanya. Its sound is the audible form of the praṇava in Vaiṣṇava liturgy.
• naṭa - nartakyaḥ — male and female dancers
  Naṭa (male performer) + nartakī (female dancer). Both sexes dance at the moment of union. Gauḍīya saṅkīrtana inherits this — body's response to līlā cannot be confined to seated chanting.
• gāyakāḥ jaguḥ — singers sang
  Gāyaka (singer) + jaguḥ (sang). The cognate doubling — singers sang — is a Sanskrit emphatic device. Gauḍīya kīrtana descends from precisely such gāyaka-circles.
• ānaka — large military drum
  Ānaka — the deep war-drum. Curiously listed at a wedding: but the verse is preparing the next beat, in which the failed suitors will attack on the road. The marriage is also a battle; the wedding-band is also the army's band.

• What in my life is the right choice that deserves visible celebration?
• How does ceremony seal a decision?

The garlanding is acknowledged with a sudden eruption — mṛdaṅga, paṭaha, conch, kettledrum, military ānaka — male and female dancers, singers. The hall recognizes that something has just become permanent. Gauḍīya kīrtana descends from this moment: the moment human bodies, hearing the union, cannot help but sing and dance.