Corsi di FormazioneAMBIENTI SONORIVISUAL SOUND
Il Mantra OM
La Tonica Personale
Il Canto Armonico
Shri Vemu Mukunda
Il Suono SottileMUSICA LIVEINDIAN MUSIC
Beatles in India
Lo Sguardo Scuro
E-motion Movie Orch.
Tell a Friend
VEMU MUKUNDA STORY
A brilliant Indian student by the name of Vemu Mukunda had taken science courses at universities in India. Then he left his motherland to conduct post graduate research in Scotland. He took a job in England working in the field of nuclear science. Although outwardly he seemed to have successfully established himself in his chosen field, yet he was not happy. He had left his family, friends, and culture behind and now found himself living in an environment where the advancements in technology were considered the highest goal and his only social life consisted of attending endless rounds of cocktail parties. He felt his life was empty and without purpose and this feeling came to a crisis point when his brother and sister both died back in India. Furthermore the negative use of nuclear science to build weapons of mass destruction weighed on his conscience and made him question his choice of career. He began to sink into a state of chronic depression which was only briefly relieved by the release he felt when he made music on the Indian stringed Veena that he had played since childhood.
It was during that period of black despair that a series of strange incidents occurred to bring a new influence into his life. By coincidence, a mutual friend in London had a veena at home that was badly damaged and when he heard of Vemu's skill with the instrument he invited him to his home to see if he might be able to repair the instrument. Vemu went to the home along with some friends and indeed found the instrument so badly damaged that he was completely unable to get any pleasant sounds out of it at all. However he agreed to take the instrument back to his home and see if he could repair it.
On the way home, the friends who had brought him wanted to stop at a house where they knew the residents were conducting Sai Baba bhajan sessions (sacred singing). Though Vemu had no special interest in doing so, since he was riding with them he went along with the plan.
When they arrived at the house and went in, he saw a picture of Sathya Sai Baba on the wall and immediately had the thought: "Oh, no not him". His parents had been followers of Shirdi Sai Baba and they felt that Sathya Sai Baba, who claimed to be the reincarnation of Shirdi Sai Baba, was an imposter and so Vemu had also taken on this attitude. Shirdi Sai Baba left his body in 1918 and many of his original followers were unwilling to believe that he had taken on the Sathya Sai form eight years later (Sathya Sai was born in 1926) even though Shirdi Sai Baba had told his followers just before his death that he would take birth again eight years hence.
Vemu had no interest in the bhajans and so he sat behind the other singers and took no part in the singing. However during a lull in the bhajans the hostess put a veena in his hands and asked him to play something. In an abstracted mood he began to strum the instrument and presently a tune came into his head and he began to play. The others very much enjoyed his playing and when the song ended they asked him to play another song. He agreed, playing the first tune that came to mind. At the end of the second song, he suddenly realized that the two songs he had just played had been composed by two different Indian Saints but the titles of the songs had the same meaning in the respective languages of the composers: "No One is Equal to You".
Now Vemu looked down at the veena he had been playing and realized that it was the badly damaged one he had been taking home to repair. But mysteriously, every note he had played on it had been completely harmonious. Now he tried to play it consciously and not a single harmonious note would come out of it. He began to feel as if something miraculous had occurred and he felt the hair on his head standing on end.
He thought to himself: "Sai Baba! What power. Is he a black magician?"
After this incident Vemu began to get invitations to play professionally. He accepted whenever it fit into his schedule and strangely, wherever he played he would run into someone who would talk about Sathya Sai Baba. At home his friends in London kept pressing him to attend Sai Baba bhajan sessions. He began to feel that he was being pursued by Sai Baba!
Vemu had been schooled on the principles of science and so his confidence was more on the field of matter than that of the spirit. He felt that the realm of spirit was only a way by which some people escaped from harsh reality. And yet some part of him wanted to proceed into the spiritual realm while the other part wanted nothing to do with it. His mental torment increased and he felt himself being torn in two different directions. He continued to resist the spiritual impulse and yet, the world of physics and materialism had lost its charm for him.
Finally in a state of complete desperation he sat down and addressed a letter to Sathya Sai Baba at his residence at Prasanthi Nilayam. Although he had heard that Sai Baba does not answer directly by writing back, it was said that he would provide the answer in some more direct form. He poured out his heart's dilemma asking Sai Baba if he should continue in his chosen profession of nuclear engineering, quit and become a full time musician, or renounce the world and become a religious devotee (Sannyasi).
As he boarded a flight to Paris for a Veena concert, he wondered how and in what form he might receive a response to his letter but nothing unusual happened on the trip. On his return to London, he began to feel an inexplicable urge to visit the same home where he had played the damaged veena during the bhajan session. This was curious to him since he didn't even want to go there the first time. He ignored the urge for a while but finally gave in. Approaching the house, he noticed the "Om Sai" written on the front of the house. The owner of the house, Mrs Sitabai, greeted him at the door and told him she was very glad he had come because she had something for him. They went to the shrine room and she handed him a photograph telling him an unknown visitor had attended the last bhajan session and had asked that the picture be given to Vemu as soon as possible. He looked at the photograph and saw that it was a picture of Sathya Sai Baba playing the veena!
He was immediately overcome with emotion and surrendered to Sai Baba by prostrating before the large photo of him on the wall. Tears of emotion ran down his cheeks. He knew now that he had his answer. He soon quit his job and became a full time musician. His reputation as a skilled veena musician spread and he began to get calls from all over Europe, including as far away as Russia. He felt that somehow his sudden success was due in part to the guiding hand of Sathya Sai Baba and he began to feel that he wanted to return to India and visit him. At about this time his mother and father were also asking him to return to India to see them and so he began to think seriously about making the trip home. But at the back of his mind was a fear that all the events were just coincidences and the result of his own imagination and that Sai Baba might refuse to see him. It would be a great disappointment to him if Sai Baba ignored him.
He decided to write to a friend and have him ask if he should come to visit Sai Baba. Soon afterwards he had a vivid dream in which Sai Baba came to him and rubbed his sacred ash (vibhutti) on his left shoulder beneath his shirt and said to him: "Come to India". When he awoke the dream seemed very real but he still felt that it might have been created out of his wish to go to India to see the great teacher. After several days of struggle he made up his mind to go so he canceled all his performance reservations and took a plane to India.
When he arrived at Swami's (i.e. Sai Baba's) residence he took his place on the grounds at the end of a line of men. One of the devotees told him that he had arrived just in time for Darshan, in which Sai Baba circulates among his devotees giving sight of a holy person. Vemu sat quietly enjoying the feeling of peace that emanated from the place and waited patiently. Soon there was a stir at the other end of the lines and he caught sight of the orange colored robe of Sai Baba as he circulated slowly, gracefully among the devotees, stopping briefly to talk to some, to create vibhutti for some lucky ones, or to take letters from others. As Sai Baba got closer, Vemu felt his excitement and anxiety increase. As he saw the robe and delicate feet approach him he could not bear to look directly into his face, encircled with a halo of hair and so he cast his glance downward onto the ground. His heart was in his mouth and his body became rigid as he noticed the feet approach ever closer. Vemu had written a letter to give to Sai Baba but he had completely lost his wits and did not even think to hand it to him. He felt Baba take the letter from his hand and then he raised him up and he heard him say in a quiet voice: "Go inside and wait".
Vemu went inside and when at last he faced Sai Baba alone in the interview room, Sai Baba created vibhutti for him and rubbed it on his left shoulder under his shirt just as he had done in the dream. Then Sai Baba began to discuss the obstacles in his life showing complete familiarity with his career struggle, his desire to play the veena, his depression, and other details of his daily life. As the talk ended, Baba circled his hand and produced out of air a five faced rudraksha bead in a gold setting at the end of a gold chain. He gave it to Vemu to wear constantly and told him that he would have great success both in his new career and in his spiritual progress. He then invited Vemu to play the veena at a musical concert to be held at the Sathya Sai College in Brindavan.
When the time of the concert came, Vemu brought along his eighty year old father who had been a close devotee of Shirdi Sai Baba. His father told the son he would just sit outside on the outer grounds and wait. But when Sai Baba learned the father was present he immediately called him inside and in Vemu's words: "For a whole hour Swami talked to my father like a loving mother to her child. After that my father was a changed man." Now the entire family, Vemu's father, mother, brother and all the other members of the family are followers of Sathya Sai Baba.
From a story by Howard Murphet. Birth Day Publishing. San Diego, CA.
Voice’s ground tone
It’s the ground-frequency, expressed in hertz (Hz), which characterizes the voice tone of every person: it corresponds to one of the 12 notes in which is divided the musical octave. To every tonica are associated particular general features of personality and character. When we are calm and quiet we are in our tonica, that is physically placed in the navel. Every emotion changes the point where is our consciousness, altering the natural state of quiet. By the moment in which the tonica is fixed (in the adolescence age), it will be the same till the menopause and andropause.
In interpersonal relations the tonica plays a very important role, having influence on relationship quality: many psychological problems may be recognised and resolved just working on the tonica.
It’s possible, with particular Nada-Yoga techniques, to stabilize our tonica, making positive aspects of character stronger, improving general psychophysical efficiency and contributing to the progress on spiritual path.
Nada-Yoga course provides one individual session of 45 minutes for recording personal tonic note. In the end you can have a scheme and a practical guide (CD) to do the techniques on your own frequency: in this way it will be possible to work with great precision, increasing very much the efficiency of all the exercises.
For a better development of the session it’s useful to predispose yourself to the tonica recording after ten minutes of silence and tranquillity. It will be requested you to:
1. Seat in a comfortable way on a chair, with a straight but relaxed bust 2. Close your eyes and keep them closed for all the time of the recording
3.Concentrate in particular points of the body, according to the instructions.
4.Speak, as requested, with short spontaneous sentences in the habitually used language, without intellectuality or inquiring anything.
In the end of the session it will be assigned you your tonic note, with the analysis of general aspects of personality, individual potential and the explanation of the other influent notes of your voice.
A CD will help you as a guide to practice with the fundamental techniques of Nada Yoga, using correctly your personal tonic note. If necessary, you will suggested to use specific musical scales and techniques for your problems. In the CD you will also find some tracks with the most important and helpful musical scales of South India (Melakarta): so it will be easier to sing them by yourself in a correct way.
INTRODUCTION TO NADA YOGA
Nada, in sanskrit, means vibration, that is sound: Nada Yoga is a musictherapy discipline from India and Tibet, which uses sound, music and physical consciousness, in order to bring harmony and balance between body, mind and spirit, resolving or relieving many psychological, physical and physiological problems in a natural way.
We can find Nada Yoga theoretical foundations in very ancient treatises (Gandharva Veda, Upanishad, Naradiya Shiksha, Sangita Ratnakara ecc.), in which was formulated a general theory of sound on mathematical, physical and metaphysical bases. In recent times the famous musician and musictherapist Vemu Mukunda, from Bangalore, has developed a very interesting system, based on the so called “Tonica”.
Nada Yoga fundamental basis is the Tonica, the ground frequency (different for every person), upon which are planned all the techniques, that include the use of voice and elementary chant: the first result is reaching the mind making it quiet and free from emotions and intellectual inhibitions (unconditioned mind).
Then the use of proper mantras (sonor vibrations which act the correct and functional movement of prana with consequent energy redistribution) and specific musical scales taken from Melakarta South Indian pattern (based and performed on personal tonic note), permits to touch particular points of physical and psycho-etherical body (nadi) and of emotional sphere (shrutis), removing from subconscious the negative energy blocks, converting them into positive for autotherapeutical purposes and for improving creativity.
Nada Yoga allows us to find and use Natural Rhythm, (also different for each person), by which is possible to make every activity with a specific resting rhythm, very useful for physical resistance and mental lucidity. Particular rhythm phonetic techniques induce a strong neurosensorial activation which increases cerebral synapses, improving attention, concentration, memory and intelligence.
Strictly musictherapeutic techniques are moreover enriched by a series of exercises that allow a progressive development of mental strenght for activation and distribution of ionic energy, helpful for alignment and reinforcement of human body’s electromagnetic fields: this promotes blood circulation, works on bones and muscular structures, slows down the cellular aging process and secures a valid physical and mental protection. At last, training with meditation exercises, by Overtones Singing practice, allows to get a particular mind rest state (niroda) equivalent to that you can reach only in a special sleeping level (delta brain waves).
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
La Tonica Personale
firstname.lastname@example.org cell. +39 328 2074908 * cell. +39 340 5415084 - Tel.+39 049 600491 * Via T. Vecellio 77, 35132 Padova (Italy)
COS'E' LA TONICA PERSONALE
E'la nota fondamentale della voce,la frequenza-base,espressa in Hz (Hertz), che caratterizza il tono della voce di ogni persona: corrisponde ad una delle 12 note in cui viene suddivisa l'ottava musicale. Ad ogni tonica si associano determinate caratteristiche generali della personalità e del carattere. Quando siamo calmi e tranquilli siamo nella nostra tonica, che viene collocata fisicamente nella zona dell'ombelico. Ogni emozione viene a spostare il punto in cui si trova la nostra coscienza (consapevolezza), alterando lo stato naturale di quiete. Dal momento in cui la tonica si fissa (nel periodo della pubertà), rimarrà la stessa fino alla menopausa e all'andropausa.
Nei rapporti interpersonali la tonica gioca un ruolo molto importante, venendo ad influire sulla qualità delle relazioni: molti problemi psicologici possono essere individuati e superati proprio agendo sulla tonica.
E' possibile, con particolari tecniche del Nada-Yoga, stabilizzare la propria tonica, rinforzando gli aspetti positivi del carattere, migliorando l'efficienza psicofisica generale e contribuendo al progresso sul cammino spirituale.
IL RILEVAMENTO DELLA NOTA TONICA PERSONALE
Per il rilevamento della nota tonica personale è prevista una seduta individuale di 45 minuti circa Alla fine dell'incontro verrà consegnato uno schema scritto e una guida pratica (CD) per eseguire le tecniche basandosi sulla frequenza stabilita: in questo modo è possibile lavorare con maggior precisione, aumentando sensibilmente l'efficacia degli esercizi proposti.
Per agevolare lo svolgimento della seduta è utile predisporsi al rilevamento dopo essere rimasti per una decina di minuti in silenzio e in tranquillità. Vi verrà chiesto di:
1. Sedere comodamente su una sedia, con il busto dritto ma rilassato.
2. Chiudere gli occhi e tenerli chiusi per tutta la durata del rilevamento.
3. Concentrarsi in particolari punti del corpo secondo le istruzioni
4. Parlare, a richiesta, dicendo brevi frasi spontanee nella lingua abitualmente usata, senza intellettualizzare o fare domande.
A conclusione della seduta verrà assegnata e analizzata la nota tonica personale, con la spiegazione dei tratti generali della personalità, delle potenzialità individuali e delle altre note influenti. Un CD servirà poi come guida per mettere correttamente in pratica le principali tecniche del Nada-Yoga, servendosi della nota tonica personale. Verà insegnato come intonare il Mantra OM nel modo corretto, al fine di rimuovere i blocchi emotivi che compromettono il completo fluire dell'energia vitale (Prana). Se necessario, verranno consigliate particolari scale musicali e tecniche specifiche per ciascun caso. Il CD fornito contiene anche le tracce delle principali scale musicali del Sud India (Melakarta): in questo modo è più facile cantarle autonomamente e correttamente.