Tito La Rosa is descended from the Quechua Indians of the Peruvian Andes. For many years he has been rescuing and preserving, studying and intuiting the ancestral music of Peru. He is also a “Curandero del Sonido”, a sound healer, who enters an altered state to produce sounds that uplift, allowing healing and balancing to take place.
Ancient Andean wisdom teaches us that the Earth was made while the creator sang, therefore all beings are made of sound, rhythm and harmony. Through her concerts, flower ceremonies and music lessons, La Rosa helps awaken our memories (memoria antigua), weaving sounds into frequencies that open the heart and encourage the spirit to soar. Tito makes, with his instruments and his divine breath, a bridge between the ancestor and the contemporary, between heaven and earth, matter and the divine.
La Rosa recorded with Mary Youngblood on the Silver Wave label. His 2002 CD, “The Prophecy of the Eagle and the Condor,” was nominated for a Native American Music Award for Best World Music Recording.
In the work of the 9 doors of the Peruvian School Del Sonido Curador, Tito La Rosa uses different instruments to develop the process of sound healing through the 9 doors. Tito explains what the Peruvian Del Sonido Curador School is:
Escola Peru is a group of sound curators, medicine men, women who read the oracle and my ayahuasca teacher Amélia Panduro. A group of people who have been feeding me and forming this sound healing proposal through the 9 doors.
Among the instruments used in this work of the 9 doors, there are different types of flutes that are used at the moments of doors 4, 5, 6, 9 and also at the end of the ritual.
The 4th moment is the work with the Mother. Because? Because there is its origin. One turns to the Mother, it is the only path, the relationship with the Mother, with her origin, with the grave, with the womb. The 4th moment, the 4th door is the mother of flutes, Mama Quena . When touching Mama Quena , always set an intention. The intention is an energetic vibration and the intention has to be accompanied by Munay (energy of love). If intention is not accompanied by Munay, an expression of love will not be transformative. The intention is always accompanied by a very affective charge of love energy. The intention is to refer to the Mother. The sound touches your core cavity a lot, your belly, your chest, your hands. And the intention you produce communicates with you on a cosmic, magical level. Your mind probably won't understand but your body will because your body has other channels that communicate cosmically, that's why the intention is important, but it has to be an affective intention from the Munay, from the heart of the sound.
“The 5th moment is Munay, love. To open up the energy of love, and here the flute of love is played, the double flute, which has a masculine and a feminine vibration and when played together at some point, they integrate and work the energy of love. Love as the most luminous vibration in the universe. For what? To heal from the heart of the sound, from the Munay.”
In the 6th moment, 6th door, we work with a masculine instrument, the Abuelo flute. Its characteristic is to express itself through harmonics. It has a central sound and from it we have high and low harmonics. It usually has seven harmonics, sometimes six. It refers to its roots, to its identity. It is a rod of power, a staff, it works your center, your power, your male lineage. It works all this through the harmonics. I work a lot on the sound of her hitting the flute on the floor like a staff. Because? Because you have to be grounded, not everything is cosmic, it has to be grounded, grounded. I connect a lot with my grandparents, with my ancestors. It's the flute of the Abuelos. It's a sound that works a lot in people's spine and old memory. The column is the place that best receives sound, they say that the column is the home of your sound, that it lodged there. The Abuelo flute works a lot on his ancient memory, his belonging, his roots, his male lineage, his power.
“In the 9th door we incorporated the classical flute of the Hemispheres and another one that I use which is the constant sound flute, the Pedal flute. A flute that doesn't give us a name so you can put any name. A flute that has a constant sound and within this constant sound the other sounds lodge and together produce harmonics. Now is the time to start closing, to prepare for the closing of the session”.
In closing, I use the Moon or Shamanic drum and sometimes a Native American flute in lower F (Earth frequency) can be used. With the native flute one returns home, the lowest one that is used to return home.
– Maestro Tito La Rosa.
Tito La Rosa website:
Native Flute Blog
Complete Breathing, Vagus Nerve and Playing Flutes
Breathing and Flute in Chinese Medicine
Lord Hanuman and the Breath
Rumi – Masnavi: The Lament of the Bamboo Flute
The boy and the flute – Lenda Nambiquara
History of Pan
Hariprasad Chaurasia and the Bamboo Flute