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Overtones singing is the subtlest and transformative way to utilize Sound: it is the top level of Nada Yoga, or Yoga of Sound. There we can find the principle of anahata sound, the unstrucked sound of hindu theory. In overtones singing we see the splitting and multiplying of sound in all its deeper and etherical components: the harmonics. They are the atomic components of fundamental sound which is divided in the so called partials, the harmonic frequencies.
The overtones progression follows universal and mathematical laws, by a particular scalar structure which spreads from basic components (Tonic, Fifth and Octave) including the third, the seventh and then a real eight-notes scale, that links the character of Lydian mode to scale n.64 [Vachaspati] of South India Melakarta System.
First of all, Overtones singing practice induces the amplification of self and external world hearing capacity: this aptitude allows to go deep inside consciousness and to reach meditative levels that expand the conscience. Harmonic sound produces a gradual transformation of the person, opening and making active all chakras and subtle bodies, harmonizing and balancing them. That’s why we speak of harmonics (Overtones).
Meditative and transformative aspects of Sound: Contemplation
The first harmonic that produces a changing, a transformation, is the III°HARMONIC, which produces a perfect fifth interval.
The first two harmonics identify themselves with the fundamental, the tonica: with II° HARMONIC we are at a first diversified level, since the second sound of harmonic superimposes to the tonica sound.
But is with the III° that we have the effective transmutation, where something really changes the sound “quality”.
And as sound changes and transform itself, creating something else (another note at a different pitch is produced), so in the same way something changes in our essence, our consciousness moves in another level of perception. The physical, gross bond, that is expressed in a strong way by the tonica, breaks making place to a link with something external us, on the outside, at a subtler level, at a higher vibration.
All this, however, staying well linked to the base, the physical centre, since harmonic sound is always in connection with the fundamental, the tonica.
The first step in knowledge and application of harmonic sounds for a “transformation” purpose consists just in hearing, recognizing and reproducing this second sound (the fifth) which is added at the base note.
Depending on the pitch of the tonic note you start with, there are different techniques for sing this III° harmonic and so an interval of fifth. By the moment one is able to identified it, it will be necessary to proceed with a kind of “contemplation” of this interval, focalising the harmonic sound and making it become a kind of new tonica which is overimposed to the base-sound.
In one sense we must invert the process: it’s no more the harmonic to proceed from the fundamental but it’s like if it had its own autonomous life, emerging and so placing in the foreground.
By this way also the power and vitality of harmonic sound is improved compared with the generative tonica, that becomes a background. The same process is applied to all other harmonics we produce.
CHAKRAS & HARMONIC SOUND
The word “Chakra”, in Sanskrit, literally means “wheel”: it’s a vocable
used to represent specifically one energy vortex which, exactly, has its own rotating movement. Chakra has got no a proper physical essence but is intended as a psychic centre, associable to some zones in the physical body and to some organs or glands.
Indian and Tibetan texts describe them as lotuses provided with a precise number of petals, related to particular colours, sounds, musical notes and sacred-mythological images.
To the very orthodox western mentality these matchings are not so easy, but we must think that eastern mind, discussing about transcendental concepts and experiences, normally uses mythological images and situations, which better can express what words with difficulty can do. Regarding then physiological and anatomical notions, we consider what seers affirm they have experienced in particular overconsciousness states.
Our system is based on 7 major Chakras to whom we associate 7 notes (corresponding on n.64 Melakharta Sud India scale chart (“Vachaspati”): the tonic note (G) is located at III°Chakra, and the last two notes of this scale are taken in the bass octave range for the first two Chakras. We use vocalic sounds (u o a e i e la "m" ) to make different centres vibrating. Then, according to the production of overtones, for each sound is possible a range of “links” between some Chakras, so it’s permitted the subtle bodies harmonization and their increasing power.
We can find so many theories about chakras and sound utilization: in our system we postulate some fundamental principles:
· Everything is in vibration, sound is vibration
· Everything is in sound
· 7 major Chakras are considered
· Use of vocalic sounds for each Chakra, in this sequence: U, O (closed), O (nasal), A, E, I, M
· Linkage chakra/note based on musical scale n.64 of Melakharta (“Vachaspati”), which reproduces the natural progression of harmonic sounds
· Chakras Visualization and concentration during corresponding sound chanting
· Use of harmonics (overtones) to link chakras each other, on the basis of the correspondence between harmonic sung and respective chakra’s note
· Practice for itself, without expectations
TONING & OVERTONING
Toning is a vocal technique in which the purpose is rebalancing gross and subtle body vibrational models, inducing them to a normal electromagnetic level. In this way, voice’s sound becomes an instrument for Spiritual evolution. The chant of so called “Sacred Sounds” requires the use of vowels and other particular phonetic sounds, able to make psychoetherical centres (Chakras) to vibrate, opening (if they are closed), balancing and linking them. Practicing toning we may correct discord which acts on organs and physical systems functions, interfering on psychic-mental sphere.
By OVERTONING we mean that particular method of overtones singing where you can enter in a “meditation of sound” system, which is used by ancient traditions (from Mongolia, Tibet, Tuva and Sciamanic people) as a means to connect themselves with super-ego, reaching and activating deep consciousness levels which allow inner transformation and spiritual increasing.
Toning and Overtoning are also very good techniques for brain “recharging” and promoting lack of thinking, with production of Alpha, Theta and Delta cerebral waves.
Constant practice with these systems (that are included in Nada Yoga, the yoga of sound), brings a greater and greater self-consciousness, of external world and cosmo: it’s the very essence of Pytagora’s spheres harmony.
VOWELS AND THE KABBALA
The chant of particular vowels has, in magic practice of kabbala, the capacity of link the singer with divine energies. By means of vocalic chanting based on Maestro Codex of the “word” A.E.I.O.U., we could have a totally cosmic knowledge.
"A" Vocalising is connected with Earth element and North direction.
"E" with Air element and East direction.
"I" Fire, South
"O" Water, West
"U" Ether, everywhere
In Egypt, when they were singing hymns to deities, priest used seven vocalisms to activate energetic centres (Chakras): they sang them with a precise sequence.
EFFECTS OF OVERTONES SINGING
· Cerebral cortex charging
· Heart rhythm reduction (about three pulsations for minute)
· Respiratory rhythm reduction (oxygen consumption decrease)
· Cerebral waves reduction (alfa waves increase)
· Metabolic general rhythms reduction
· Temporal perception slowing down
· Action on spinal fluid arriving to brain (Kundalini?)
· Physiological alterations on the connective tissue, very important for
· Creation of new neuronal synapses in the brain
· Hearing capacity improvement (modified consciousness states)
· Meditative state induction