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VATA

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VATA

Bells, tall violins, flutes (air instruments), very open keyboards, large spaces, movement.
Air suspended melodies with very wide intervals and space, even between the notes and between the sounds (very high and very deep)
Vata Yaman – evening / sunset melody; Very nice raga, melody with bansuri flute. The piano begins, which touches the entire scale of the Raga, and then the flutes.
White Flower – inspired by Linda, very meditative, full of space and energy; crystalline, angelic, celestial of the high spheres, clear, transparent. Piano and flutes
Impro Dud Ban – very meditative. 1 and 3 part: duduk with very soft and open sounds, which underlies a constant carpet of voices and choruses of OM men throughout the piece; three synthesizer notes and then high female voices, which during the third part begin to open on the frequencies that give a wide sense of air. The bass is also not constant, but rises and falls; it is almost imperceptible, but it creates the sensation of being lulled by the sound.ono.
Three Floor Idea
Sounds very airy, they come and then they go, of course; the melodies tend to open up a lot, the relationships between the notes are not predictable, they are distant from each other, but then they rejoin, like a wind carrying something around: you don't know where it is going, but you can follow it.

THE TRACKS ARE MP3 FILES (NO CD will arrive)

The whole record has round sounds. Music is not just a matter of melodies and chords, it is a matter of sounds. Some sounds are so rich that even with a single note you can hear the sound for hours and hours.
Shantam has made careful sound research, even in the studio, on frequencies. There are some waves that need to be stimulated and not others. A single sound can completely shift a person's energy. In the sound there is the soul of the player. The same instrument played by two people produces completely different sounds, or even by the same person at different times.

The selection among the ragas is made by Paolo Avanzo. He has chosen three Ragas for each Dosha.
The research on the ragas is complex because traditionally musical information was secret, only now is there beginning to be opening and disclosure of this precious knowledgeze
Over time one begins to recognize what leads to one Dosha or another
The same Raga in two different contexts, or due to a different mood of the musician, changes
Shantam tried to create sounds that accompany people in a relaxed state:
round, non-scratchy sounds; the sound waves are specially chosen and modeled to give softness, to permeate, enter people.
Like a very deep, albeit slow, massage

Intonation of instruments:
the LA in France in the nineteenth century is used at 435 Hz; in the nineteenth century there was a proposal from Rome to bring it to 450 hertz. Verdi proposed 432 hertz as the ideal pitch, because at 432 Hz pacifying, natural mathematical harmonics develop; but instead it was established as a general convention to use 440Hz.
Playing the same piece with the two intonations you feel that the 432 hertz is warmer, more intimate, more natural, more enveloping.
In previous years Shantam heard something out of tune, strident in the intonation at 440 hertz, while with 432 hertz this feeling disappears; therefore the discs are recorded at 432 hertz so the listener will perceive even more balanced music

Raga times / Dosha times
The intervals of the ragas: every three hours
Dosha intervals: every four hours
There are overlaps
So it is very complex and not easy to read in this key

Music V images of space and air
Music P images of fire and movement
Music K images land hills water [:]

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