Page 50 - NAMAH-Apr-2024

Namah Vol. 32, Issue 1, 24th April 2024

characteristics contribute to acting positively on from the tonic Saa, Nī Dhaa to the low octave Pa, a
brain synapses, taking into account that when a with which it concludes. Also in this case, if
given musical formula is sung, the brain makes there are difficulties in intoning the notes in
a series of calculations and proportions that the lower octave, mental chanting (anaahata)
strengthen neuronal connections, contributing will be used. The Saa Re1 interval has the
to greater mental brilliance and elasticity [1]. property of acting on a physical level in the area
above and below the navel and on a psychic-
In the specific case in question, to resolve the emotional level it generates a slight sensation
problem of constipation, the scale is made to of excitement, of awakening. Physiologically,
tune with a particular formation which involves there is a stimulation of the colon with gastric
the use of the low octave, first with the rhythmic juices normally used for digestion, favouring
repetition, at increasing speed, of the formula in this case, the evacuation process with the
a
a
Sa Re Sa Nī (low octave) and then the descent final sequence downwards.

Fig. 11: Mayamalawagaula formation

After assiduous and regular practice, within problems. Each rāga is based on a precise
three weeks there were clear improvements in musical scale and elaborates it according to
his digestive capacity and greater regularity a pre-established sequence, which includes
in evacuation. The patient also noted a better a long, free introduction, without rhythm
ability to concentrate and improved mental (Alaap), in which the typical mood of the
clarity. composition is introduced by presenting the
main notes (Vadi and Samvadi). Afterwards
a
Finally, an important development in the the raga develops with a theme (Gat) based
practice of therapeutic musical scales on a rhythmic cycle (Taala), interspersed with
consists in the passive application of sound improvisations, which however respect the
models, implemented by listening to Raaga fixed scale and the rhythmic cycle, with a
(compositions of classical Indian music) crescendo in speed until reaching the very
based on the scales chosen for the specific fast finale (Jhala). Listening to a Rāga (which

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