Traditional Kandyan-inspired Meditation Piece. Slow Evolving 7-minute Form Built On Spacious Geta Bera-style DUM–TA Patterns And Very Soft Thammattama Textures. Part 1 Stays Low And Open

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Traditional Kandyan-inspired Meditation Piece. Slow Evolving 7-minute Form Built On Spacious Geta Bera-style DUM–TA Patterns And Very Soft Thammattama Textures. Part 1 Stays Low And Open Tracks

Hitha Saman Vila

Cover art for Hitha Saman Vila by Indunil Idunil
04:00

1 week ago

by Indunil Idunil

**Create a 7-minute instrumental track called “Hitha Saman Vila”. Style: Traditional Kandyan-inspired, calm, meditative, grounding. Tempo: Slow to medium (60–78 BPM), soft DUM and TA beats. Instruments: Percussion (Geta Bera style), soft Thammattama, minimal melody. No vocals. Structure: Part 1 (2 min) – Calm Grounding Part 2 (3 min) – Inner Rise / Confidence Part 3 (2 min) – Return to Stillness I

beats slow Soft minimal Traditional Kandyan-inspired meditation piece. Slow evolving 7-minute form built on spacious Geta Bera-style DUM–TA patterns and very soft Thammattama textures. Part 1 stays low and open lots of air sparse strokes and long silences. Part 2 gradually adds more interlocking rhythms and slightly stronger dynamics to suggest inner strength while keeping the tempo steady and unhurried. Part 3 gently subtracts layers returning to a simple pulse and faint overtones ending on a sustained resonant cadence. No vocals.

Hitha Saman Vila

Cover art for Hitha Saman Vila by Indunil Idunil
02:47

1 week ago

by Indunil Idunil

**Create a 7-minute instrumental track called “Hitha Saman Vila”. Style: Traditional Kandyan-inspired, calm, meditative, grounding. Tempo: Slow to medium (60–78 BPM), soft DUM and TA beats. Instruments: Percussion (Geta Bera style), soft Thammattama, minimal melody. No vocals. Structure: Part 1 (2 min) – Calm Grounding Part 2 (3 min) – Inner Rise / Confidence Part 3 (2 min) – Return to Stillness I

beats slow Soft minimal Traditional Kandyan-inspired meditation piece. Slow evolving 7-minute form built on spacious Geta Bera-style DUM–TA patterns and very soft Thammattama textures. Part 1 stays low and open lots of air sparse strokes and long silences. Part 2 gradually adds more interlocking rhythms and slightly stronger dynamics to suggest inner strength while keeping the tempo steady and unhurried. Part 3 gently subtracts layers returning to a simple pulse and faint overtones ending on a sustained resonant cadence. No vocals.