Page 47 - NAMAH-Apr-2024

Namah Musical Notes and Emotions

centring, of the heart (U) to bring out the
so-called ‘absolute joy’ (AAnanda) and of the
third-eye (M) to increase the mental abilities
of attention, concentration, memorisation
and development of intuition. The second
phase consists in the use of the actual Mantra ,
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intoning a long glissando starting from A
on the tonic note and then arriving and
concluding, passing on the U sound, to
the M sound at the octave: this modality is
considered the true original form of using
the OM Mantra to obtain the precise result Fig. 5a): Hindola/Malkauns scale in Melakarta a
of the transformation of emotional energy- System
blocks and the recovery of new energy to
be used for self-therapy and creativity, and
also restoring the correct functioning of the
organism on a physiological, psychic and
emotional level. The glissando is a particular
gamaka (embellishment) with which all the
frequencies included in an octave are touched,
well beyond the 22 codified microtones
(ssrutis) of Indian music. Afterwards, the
subject was prescribed the practice of singing
a specific therapeutic musical scale, based on
the Hindola/Malkauns pentatonic scale. b) in Nāda Yoga simplification

C E♭ F A♭ B♭ C
SA GA MA DHA NI SA
1 ½ 1 1 ½ 1 1

Fig. 6: Hindola/Malkauns with English notation
and tones intervals

Fig. 4: Western Musical notation of Hindola/ From the analysis of the intervals, we can
Malkauns scale immediately notice the ‘feminine’ character of

5 Cfr. Prassna Upanissad
a
a
6 Regarding the type of Pranna in question, Sa and the note with a fifth interval (Pa) stimulate
a
Saaman and restore balance and coordination. The Dhaa, Nī and Saa octave intervals stimulate Pranna.
a
Re, Gaa Maa and the notes in the lower octave stimulate Apaana. The notes in the upper octave
a
a
stimulate Udana and Vyana.
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