Taken from here: http://maisondesmiracles.nl/yogasound.html say all thanks to them. I have no idea how to recover another data in document, exept text Healing Sound Yoga discover your own sound body supercharge your chakras with sound sound health by combining yoga postures & vibrational patterns harmonize your organs & balance your emotions with sound yoga sound therapy with triads (triple sounds) This specialized form of sound yoga offers many possibilities, like the harmonization of your chakras (energy centers) by singing along with the tones of overtone wizard Dr. Loucas VandenBerg, or just humming together with the healing sounds of singing bowls expert Rainer Tillmann. Never before has there been a recording of the specialized range of 24 triads (three-part chords( with their beneficial effects on body and mind. These effects are described in detail in the book, and the CD-recording is marvelous, pure and effective. Every part of your body has its own special sound vibration. With the CD you can vibrate your whole body, but also separate parts or organs, with the appropriate sound. You will learn special sound applications for healing. You can also use the sounds while practicing yoga postures to enhance the effects. Literally feel the sound vibrations flow through your body and mind ! Binkey Kok Publications – Havelte/Holland ISBN ……………….. YOGA & SOUND Text, recordings, photography Dick de Ruiter Overtone singing Loucas van den Berg Singing bowls Rainer Tillmann Recording SoundLab Studio Layout and design Jaap Koning Printed and bound in the Netherlands Published by Binkey Kok Publications – Havelte /The Netherlands www.binkeykok.com e-mail info@binkeykok.com ISBN …………………………………… (2005 Binkey Kok Publications All rights reserved. Etc etc etc CONTENTS INTRODUCTION – 1 – YOUR OWN SOUND BODY – a holistic approach – 2 – TRIADS – triple sounds for healing – 3 – SOUNDS & ENERGY – the eastern connection – 4 – SOUNDS & BODY – applying triads and overtone singing – 5 – SOUNDS & EMOTIONS – ease your mind with singing bowls – 6 – NOTES ON ESOTERIC SOUND & YOGA – the way to the inner worlds – 7 – YOGA, CHAKRA’S & SOUND – through sound to the ultimate silence within – HOW TO LISTEN – CD manual – ? One Source One Reverberation In the beginning there was the primeval Sound, and this primeval Sound was with God and the primeval Sound was God. Out of the primeval Sound God created the cosmos, the world and every living being. (Free after John 1) Out of Shabda (the Divine Audible Life Stream) came the earth, from Shabda came the heaven, from Shabda emanates all light. The whole creation leans on Shabda and this Shabda, o Nanak, dwells in all of us. Creation, destruction and re-creation, everything originates from Shabda. High above in the Lord’s mansion ringeth the transcendental music. But, alas, the unlucky hear Him not; they are in deep slumber. Guru Nanak Bathe in the center of sound, as in the continuous sound of a waterfall. Or, by putting the fingers in the ears, hear the sound of sounds. Vigyan Bhairava Tantra The mind exists as long as there is sound, but with the cessation of sounds there is the state of being above the mind. The sound is absorbed in the Akshara (eternal sphere) and the soundless state is the supreme seat. The mind, which along with Prana has its Karmic affinities destroyed by the constant concentration upon Nada, is absorbed in the unstained One. There is no doubt about it. Nada Bindu Upanishad Close your eyes, your ears and your mouth, and listen to the sweet Eternal Music within. Nada is found within. It is a music without strings, which plays inside the body. It penetrates the inner and the outer and leads you away from illusion. Kabir Sahib Put the firmament beneath your feet, o thou undaunted one, and listen to the melodious song coming down from the heavens. Seek the Sound that never ceases, seek the sun that never sets. Maulvi Rum By one who is desirous of attaining perfection in Yoga, Nada alone has got to be closely heard (meditated upon), having abandoned all thoughts and with a calm mind. Sankaracharya, Yogataravali The universe was manifested out of the Divine Sound; from It came into being the Light.” Shamas-I-Tabriz Salutations to the Nadam (inner audible life stream or Shabd), which is the inner guide and the inner life, the dispenser of happiness to all! It is the inner guru, appearing as nada, bindu and kala. One who is devoted to the inner guru, the nada, the inner music, obtains the highest bliss. Hatha Yoga Pradipika IV, 1 NADA YOGA the yoga sound connection INTRODUCTION There have been many approaches to sound and music, especially when it is about the healing or harmonizing effects thereof. In a certain sense we can immediately draw a parallel with the many hued approaches to yoga. Mainly in the last few decades new forms of yoga originate, often combined with western views, like Iyengar, Power Yoga, Acu-Yoga and many others. The ancient instruments like the Tibetan singing bowls and the Australian didgeridoo are effortlessly combined with the electronic instruments of our age. Often hideously presented, for that matter, without any soul, but now and then surprisingly inspirational and inventive. In this book you will meet several of these approaches, where sounds are being applied during the practice of several yoga disciplines. This is generally called Nada Yoga. Some of these applications have been practiced for centuries in the Far East, in countries like India, Thailand and Japan; others are of more recent origin. The Nada Yogi experiences the macro cosmos as a projection of sound vibrations; our world came into being from the primordial sound (Nada Brahma). Ancient Muslim sources as well claim such an original sound coming into being, shaping this world. The Australian aboriginals, the most ancient culture of our planet, narrate how the “ancestors” were shaping the world and all its inhabitants with their songs. The word yoga means yoke, or rather, the connection or link and balance between the extremes like yin/yang, positive/negative, whatever you name it. Nada means sound. In the East, two kinds of nada are discerned: on the one hand there is ahat nada, the sound we all hear through our ears and are able to perceive in our bodies, and which originates from hitting or rubbing of two elements (waves to shore, stick to drum, hammer to anvil, fiddlestick to string); on the other hand there is the sound which is eternal, without end, anahat, permeating everything, from the smallest atom particle to the farthest cosmos: the sound of the universe itself, our source of life. The Nada Yoga uses special kinds of sounds(sometimes of instruments, but more often of the human voice. The ultimate goal is, by using and concentrating on these sounds, to attain a kind of accord, a harmony with the inner sound, after which finally the essential Nada Yoga begins, and one becomes completely absorbed in these inner life stream of sound. In the first millennium before our calendar Nada Yogis almost exclusively were using the ‘sacred’ vowel of OM, or AOUM (read chapter 7). Already in the Yoga Sutras of the founder of the classical yoga tradition Patanjali it is written that this OM is a reflection of the Sacred Absolute principle. During the Middle Ages the Indian music had its flowering period, with worldly as well as religious schools. Also in Nada Yoga more sounds and instruments were being used since that period. Only in the last few ages the Nada Yoga evolved and flourished into manifold, but ever so often nowadays the term is being used for the wrong reasons. The problem is that of all yoga styles, Nada Yoga is the least documented one. So we have to lean on mouth-to-mouth traditions, which are often not very accurate and historically correct. In this book several approaches are reviewed. Initiates on the Path can only practice some of these; for these a short description will be sufficient. Others are practical and applicable; of course these methods will be discussed in detail. With the help of the CD in this book you will be able to directly experience the effects of sound. This will be extra useful to yoga practitioners, because they can apply these soundtracks in their practice(as a private person or as a yoga teacher. Introducing sound to the yoga practice is not very common in the West. Only a few schools offer classes with special music or sounds together with the asanas, and even fewer have specialized Nada Yoga. Hopefully, this book & CD may add to a more intensive utilization of healing sounds combined with yoga practice, in all its diversity. In my small dictionary there are only five words listed under the Y. Of these five words, two are ‘yoga’ and ‘yogi’. Apart from yoghurt, which Iike also very much, yoga must be something special indeed! And it is. I find this every day, when in the early morning I am doing my sun salutations, my asanas and my meditation, accompanied by the most beautiful outer sounds like the birds and the river that is flowing just in front of my home, as well as the inner sounds of the higher realms of Nada Yoga. OM SHANTI SHANTI SHANTI 1 YOUR OWN SOUND BODY a holistic approach Ages ago in India a yoga style evolved in which sound plays an essential part: the Nada Yoga. In this discipline as good as always the human voice was used, in order to induce direct effects on a energy level as well as in certain body parts, with specific tones, or vowels and consonants. We will acquaint ourselves extensively with this practice, and also be able to experience directly which special effects these might be. One of the extraordinary aspects of this kind of yoga is that every individual can develop and shape his or her own personal approach, according to the needs and mood of the moment. Which is evenly important(like with every style of yoga(is that it is hardly impossible to overstep the limits involved; no-one will reach that far (and for the effects there is no need whatsoever). In English ‘sound’ has a double meaning: it means the ‘acoustics’ as well as ‘whole’. We can use sounds for healing, to get well, to get whole. And this goes far beyond ‘only’ feeling good listening to a nostalgic hit from the 80s (which is fine as it is, of course!). Sounds can also be very destructive. Think of very loud explosions of fireworks or weaponry, or literally deafening house music. But traffic(cars, motorbikes, trains, planes(create a constant threat to our sound environment. Sounds like this are many fold, always around us in daily life, having a disturbing and disordering effect on us. As a counterbalance to all these confusing, disturbing noises around us we can consciously choose to surround ourselves at regular intervals with harmonizing, healing sounds. This can simply be a long walk in nature. But more specific we might also opt for a certain soundscape, pitch, sung vowels and the like, in order to generate a very special effect in our bodies and minds. So it is possible indeed to eventually choose one or several sounds which you exactly may need in order to make your energy flow freely and make you feel a lot healthier and better. This is what this book is all about. Within its limits a number of methods are being described. If you want to dive deeper into the matter there are several detailed books about the subject I can wholeheartedly recommend; you will find these in the bibliography. So Nada Yoga is a way of treatment, harmonizing of energy, by way of sounds. In an advanced stage, however, Nada Yoga aims at connecting with that nectar within, in order to meditate upon the anahat, inner sound. In chapter 6, but also in chapter 7, this will be further enlarged upon, in the section about the AOUM mantra. There you will also read about another approach: the use of sound and music as a soothing background while exercising, in order to enhance the effects of yoga. Well how do you know which sound you need or suits you best? Read all about this in the next chapters! 2 TRIADS triple sounds for healing Manmade music and sounds are expressions of their inner beings. We can also use sound the other way around, as a way to influence this inner world. We ought to be cautious claiming that sounds actually can heal, but there have been enough examples of methods and ways to use sounds and music to initiate or stimulate a healing process. One could put it this way: by creating a state of harmony and balance in body and mind by the appropriate sounds we create a condition for healing in body as well as in mind. There is an inclination in us humans to compartmentalize the things we perceive, in order to be able to understand them within the limits of our mind. The description in this chapter of the effects of triads on our being, our essence, is just doing that. Of course it is striking evidence that obviously these effects are common in most of us, but let us here also realize that these are just indications and no unshakable truth, because every human being is unique and will react in his or her own unique way. So we tend to need structures. The triad chords do have a very obvious structure, all with a very unique own essence, character if you will(everyone can hear this. From the Eastern tradition comes the knowledge that a certain pitch has a resonance with one of the body’s seven main energy centers, the chakras. These centers have a physical aspect, meaning that the life energy entering the body through a particular chakra will be distributed to a particular area of the body with the related organs and tissues. Likewise, the chakras have a direct link to certain psychical “layers” corresponding with the body parts. For example, the third chakra which is situated in the central part of the abdomen, is directly connected to the solar plexus nerve center and the digestive organs, including the distribution of energy in this area, but it is also related to “digestion” of impressions and events “coming in”. When we are being “administered” with certain triads, the corresponding chakras are being resonated. From years of experience we can now say that there will be an ignition of connecting energy, flowing into the direction indicated in the list below. The centers will be united and harmonized by the application of the triads. The result will be a physical as well as a psychical reaction, which works that way with almost everyone. During my own tests the percentage of positive reactions was 83%, while the remaining 17% still felt some effects(never negative, though! Sometimes some extra work is needed with the single tones of the triads, in order to emphasize a certain aspect of the resonance. All of this can be extensively tested with the use of muscle tests which are being used in kinesiology. Of course we are here already in the field of the therapist; this is not the material to be experimented with by inexperienced laymen. Nevertheless, just listening to the triads can do no harm whatsoever; on the contrary, they can only bring harmony! So the sounds of the CD with this book can be used by laymen as well as by therapists, be it in different ways. * * * In the series of triads you see in this chapter there is always a description of the three pitches: the first one being the keynote with the major chords, and with the minor chords the third one will be the keynote. The sequence in major will be: keynote – third – fifth; in minor key this sequence will be: fifth – third – keynote. The sound therapist will first test which triad(s) a person needs. Accordingly, he will then test all three tones of the triad separately; is one of the tones weak in testing it means the triad is not yet being coherent within this person. When the third is weak, the stress will mostly be on the emotional level. When it is the keynote that is weak, the tension will be mainly on the physical level. Finally, if the fifth will test weak, mainly the mental functions will be affected. In connection with the triads the according chakras are mentioned in the list below (which includes the body parts at the same levels, plus the psychical link) and the accessory colors. In italics you will read the affirmations related to the triads you can pronounce(out loud or silently in your mind(while listening and assimilating the sounds. More instructions about listening you will find in chapter 4. TRIADS IN MAJOR KEY – the way from the outside going in In this series of triads in major key the object is about manifesting your own inner strength and expressing yourself solidly in the outside world. 1 C-major triad: C-E-G 1-red(3-yellow(5-blue I am relaxed and in balance. My head is clear. Works clarifying, problem solving. Balances extremes like too much tension/relaxation and thinking/feeling. Aids in maintaining the body temperature. The strength and activity in the muscles improves. Works with all head and brain problems: migraine, headaches, eye trouble, neuralgia, coma, undefinable fears. 2 G-major triad: G-B-D 5-blue(7-violet(2-orange I allow myself to be; I breathe deeply in and out. Influences our creativity, refining of dreams and fantasy, realization of own inspiration, invigorating expression of own feelings. Favors the functions of the brain-stem, the taste organs, the sleep center and the organ of equilibrium. Regulates the blood pressure. Eazes also inflammation of the bronchial tubes. 3 D-major triad: D-Fis-A 2-orange(4-green(6-indigo I allow myself ample space in every aspect of my life. Gives much clarity in self-consciousness and feelings. Allows a feeling of strength, of being on top of things. Deepening of the breath. Works fortifying on the nerve system, especially the nerves of the cerebrospinal (brain and spinal marrow). Integration of both hemispheres. Affects the speech center, throat, vocal cords, the inner ear and the hearing canal. 4 A-major triad: A-Cis-E 6-indigo(1-red(3-yellow Liberation. I see light at the end of the tunnel and feel the power within. Gives optimism and activation in case of depression, fears, stress, brooding, (writer’s) block, vegetating. Aids in cases of gastric ulcers and a weak (vegetative) nerve system. Stimulates digestion and mother’s milk. Harmonizes the lymph system as well. 5 E-major triad: E-Gis-B’ 3-yellow(5-blue(7-violet Balance. I see the Light. A balancing is becoming clear between earthly/bodily and spiritual matters, so it is excellent for dreamers to get their feet on the ground. Light is shining in the darkness of a negativity spiral. Benevolent influence on the blood circulation and the blood itself, all heart conditions, problems of the spine and the nerve fibers. A typical triad for spiritual teachers. 6 B’-major triad: B’-Dis-Fis 7-violet(2-orange(4-green Unconditional Love. I am able to express myself and to assimilate impressions. For people with lots of ideas, to express them into form. Trust in own inspiration (artists!). Inner satisfaction. Aids healing power. Digestion of food (duodenum, liver, pancreas, spleen. Works on the sympatic nerve system (compare A-major). Ease of stools. 7 Fis-major triad: Fis-Ais-Cis 4-green(6-indigo(1-red Inner unity with the whole world and everyone in it. I see the connections and cohesions. Works invigorative in people who go a long way serving others or aiding for some good cause, and who need a lot of energy doing that (calamity rescue teams, emergency doctors and nurses, rescue workers). Harmonizes the functioning of the kidneys and the excretion. The sound activates also the mutual coherence of the hormonal system and the control of the same from the brain, especially to the lower part of the body, so it works well, on complaints during menstruation. Works also in a positive way on the blood vessels in the skin and certain skin diseases (connection kidneys(skin). 8 F-major triad: F-A-C 4-green(6-indigo(1-red (compare Fis major) I am I, you are you, and together we are one, here on our earth. Reinforcement of self-consciousness in relation to the outside world. Clear perception. Development of the sense of touch. Mobility consciousness in the world around you (yoga, tai chi, dancing). Has a grounding effect for highly-sensitive people; prevents them to go ‘in the clouds’. Also for oedema and unbalanced metabolism. 9 B-major triad: B-D-F 7-violet(2-orange(4-green (compare B’-major) I open myself, I am alive! Liberating and stimulating. Initiates new hope and trust. Beneficial to recovery after illness. Promotes blood production. Relaxes (dilation) the blood vessels. Supportive of muscle coordination. 10 Es-major triad: Es-G-B 3-yellow(5-blue(7-violet (compare E-major) I am standing on my own feet and I am transferring the Light to the other. Supportive of any creative process of development or growth. Energy boosting and invigorating. Spiritual aspirations are being supported and one can also express these to others (mediums, teachers). Works on the solidity of the body (bone structure), harmonizes skin diseases, activates nerve centers in the knees. 11 As-major triad: As-C-Es 6-indigo(1-red(3-yellow (compare A-major) I am attuning (syntonising) myself, and I know my limits. I am coming home in myself. Outer and inner worlds are more and more synchronized (an aid in cases of schizophrenia, dreamers, drug abusers). Works benevolent on the control and coordination of the muscles (tension/relaxation), the ischial nerve and disequilibrium. Also on complaints of hip gout and rheumatism. 12 Des(Cis)-major triad: Des(Cis)-F-As 2-orange(4-green(6-indigo (compare D-major) I am able to really letting go and have it my way. Works soothing when there is aggression and anger, without suppressing. Awaking of values. Eases essential decisions and cutting knots. In the body this triad affects the excretion and release of polluting substances. Abdomen, bladder, large intestine. During stress and after shock, deep fears. TRIADS IN MINOR – from the outside looking in In this series of triads in minor it is all about processing within what you have learned and created in the world on the outside. Many people consider minor chords as being negative. It does not have to be like that at all, on the contrary. Sometimes they sound a little melancholy, but they can help you in your awaking process of who you are, in learning to trust your intuition and the way you need to go. 13 a-minor triad: a-c-e 3-yellow(1-red(6-indigo I open myself for new developments. You are realizing your own view at life; the triad contributes also to other inner processing. The chord resonates with the longing for the unknown. Spiritual aspirations. Good background sounds during meditations. (The Indian tambura is tuned in this triad.) 14 e-minor triad: e-g-b’ 7-violet(5-blue(3-yelllow I love myself, the world and everyone in it. Reinforces positiveness and reduces excitement. Soothing for the depressed ones, who are feeling stuck(hopelessness. Comforting and compassionate. The sound belongs to people who care about the world and their fellow-men. 15 b’-minor triad: b’-d-fis 4-green(2 orange(7-violet My body and soul are one. There is but one Source! For people who live in an inner struggle and always find themselves having to choose between the material or the spiritual. Awaking of immortality of the Self. Through purification and suffering to realization of the Light. 16 fis-minor triad: fis-a-cis 1-red(6-indigo(4-green Insight. After the struggle I may rest now in love. When you listen to this triad you will perceive a feeling of deep inner peace you can anchor yourself in. By this anchoring you can set an example, write books, bring ideas into the world, and eventually arrive at loving self-realization. 17 cis-minor triad: cis-e-gis 5-blue(3-yellow(1-red Grounding. Stilling. Simplicity. This chord can help you to attune yourself to the forces of nature. Provides new hope. The triad can serve as a background during prayer, contact with the spiritual. Enhances intuitive knowledge. 18 gis-minor triad: gis-bis’-dis 2-orange(7-violet(5-blue Comfort. Smile. Homecoming. Listening to this chord can lift you for an instant above the triviality of things. Suitable for meditation, also spoken meditations and prayers. A very beautifu triad for those who want to listen to their inner voices! 19 d-minor triad: d-f-a 6-indigo(4-green(2-orange I am able to change. It is safe. In love I open myself like a flower. The sound will help in times of change and change-over, to go to work what is right and needs to be done, but still I doing so no becoming too rigorous or imprudent. To actively and consciously influence your fate. Getting a clear picture of karmic patterns. 20 g-minor triad: g-b-d 2-orange(7-violet(5-blue (compare gis-minor) I know now what I really want. Inspiration can also be expressed here. Orators, poets and singers need this one. Strengthens trust in inner abilities and their ways of expression. You can see clearly now what lies ahead. 21 c-minor triad: c-es-g 5-blue(3-yellow(1-red (compare cis-minor) I experience and accept the Divine guidance. Encourages to accept what is; and also to be at the helm. Real incarnation: being in a body, being grounded. The sound is benevolent for those who enter into new challenges. 22 f-minor triad: f-as-c 1-red(6-indigo(4-green (compare fis-minor) I have love, faith and confidence. Over-view. The sound has a relaxing effect on emotions like anger and embitterment, so you may easier let go of them. The self goes through a new phase of evolution. The chord provides warmth and energy in times of emptiness and cold. Gives hope and confidence. 23 b-minor triad: b-des-f 4-green(2 orange(7-violet (compare b’-minor) AOUM. Returning to the Source. Activates inner strength on behalf of spiritual development. Fear of death disappears. Works also well for people who are always in a hurry and tense, never have time. 24 dis-minor triad: dis-fis-ais 6-indigo(4-green(2-orange (compare d-minor) I am free. I am free. I am free. Intuition. Mystical powers come naturally. The heart area is released of pressure. Works on the hormonal system, especially the thymus. Detaching from earthly bonding. This last triad has almost never been used, certainly not in ordinary classical music. For the sake of completeness I still included it in this sequence.) How you may apply this knowledge in a practical sense in various ways you will read in the next chapters. 3 SOUND AND ENERGY the eastern connection In ancient China there was already a huge body of knowledge about the anatomy of human beings and the subtle life energy flowing through specific pathways through the body. These pathways are the meridians; the acupuncture treats specific points on these lines with needles or fire-sticks, in order to either stimulate or sedate certain flows of energy. Likewise, ages before our era, evolved in India the Ayurvedic healing art, which is closely related to traditional Tibetan healing. And likewise is here a sophisticated system of energy tracks, the nadis, and centers, as mentioned before, the chakras. Around the world in aboriginal cultures, though, we know similar ways of healing methods which are based on the life energy which is either blocked or flowing freely. The subtle anatomy has been touched by modern science as well, by means of highly sensitive measuring equipment, but nowadays also by special therapies. Also the yoga, in all its diversity, works for the better part with these energy structures in the body; in addition do several yoga exercises have direct physical effects, like pressure and breathing massage in a certain organ or body part, or by reversal of blood pressure by means of gravity in the upside down postures. It is exactly in these energy fields that sound and music can have an important impact. Remember a stone, thrown in the water, causing much turbulence at the surface, expanding in every direction. But the turbulence, this impulse, is harmonic by nature, witness the concentric circles. Likewise will a definite tone or sound cause a harmonic turbulence in the human energy system. Not only at an energy level, but also physically, sounds can have their effects. Once more the wisdom came from the East: Dr. Emoto demonstrated with resonance images what the effects are of sound on a cellular level. The most part of our bodies is made out of water, easily resonating with outside vibrations. Below are pictures of water, resonated by different kinds of music, with obviously big differences in structure, if any. With harmonic soundscapes we see a balanced color-mandala, while with chaotic souds or music there is hardly any structure at all. (Jaap: hier weer Afbeeldingen waterkristallen Emoto HYPERLINK "http://www.collectivewisdominitiative.org/vibration2.htm" http://www.collectivewisdominitiative.org/vibration2.htm ) So we can state that the more harmonic the sound structure is of a single tone or a complex piece of music, the more harmonic the resonance as a result will be inside our bodies. We might even go a little further: the intention of the maker of the sound(for instance the one who touches the singing bowl, or even the whole of an orchestra(can make a difference in effect on the receiver, the listener. We all know this when listening to concerts: a part of a well-known composer can harmonize in a great way when performed by one orchestra, while the very same part by another orchestra may be a complete disaster, listening-wise! And more often this has nothing to do with technical abilities or skills, but with the combined positive intentions of both the conductor and the orchestra members. Although this might be explained as ‘a matter of conception’, we cannot deny the reality of evidence offered to us by Dr. Emoto. Some chemical procedures on a nuclear level can only happen the right way if the person who sets this process in motion will also mentally accompany this very process in a positive way, while the same reaction will just not happen with a negative intention! By the way, you may rest assured that when we recorded the CD with this book the positive intention was at one hundred percent! Also concerning the practice of yoga, tai chi and the like, the intention while practicing will make a big difference. Someone who is practicing the exercises as just a daily routine, thinking “I just have to do it, I need it” will notice less effects than someone who is motivated by giving himself completely to his daily shot of exercising vitamins. And there is nothing mysterious about that, whatsoever; actually it sounds very logical, which it is of course. And so East and West meet. We can have the best of both worlds, why not! In the East this influence has been common heritage for long. And gradually, after years of (often a healthy dose of) skepticism, the West has now a more open attitude to the proposition that a healing process can happen much better and faster when there is a positive attitude, of the physician as well as the patient. Such a positive attitude will be extremely favorably influenced by a harmonious environment. This can vary all the way from a bouquet of flowers, harmonious music and soft lighting in sick-bay to the specific colors of color therapy and specific tones of sound therapy. 4 SOUNDS & BODY applying Nada Yoga: triads, overtones and singing bowls In order to make good use of the special recordings of the CD with this book it is of importance to know these only work well when listened through good sound equipment, with as most important factor the speakers. I makes not much sense to use headphones for listening, except for when you want to sing along with the chakra tones using only your own voice for the healing effect. In all other cases you will want to listen with big, good quality speaker boxes, which you can situate in two settings: either on both sides of your (sitting or lying) body, or pretty close left and right in front of you when you sit, or close to your feet when you lie down (see pictures). A surround system is of course excellent to use, sitting or lying in the center of the surround sound field. This is the first time ever that these triads and chakra tones have been recorded in this unique way. This means that most people never had such a listening experience like this before. It is something completely different from what you are used to, meaning you will have to get used to it. It might be that at first you will feel very tense or restless, or lost and insecure. This is because you have no references to compare your experiences with. Actually this will be a good sign, because it means that it works. Tensions and blocks are being released. After a while this kind of feelings will disappear and you will be able to let the sounds flow through your body and let them do their healing work. HOW TO USE THE TRIADS The practical uses of the triads of the CD are many-fold. First you want to find out which triad you need the most, or which one suits you best(please note that these are not necessarily the same! This can be done in various ways. If you are familiar with the kinesiological muscle-test, or if you know someone who works with these tests, you can accurately find out. Apart from the test with the shoulder muscle, nowadays the fingertip test is rather popular as well, and surprisingly accurate in most cases. You can also work intuitively and listen very attentively what kind of reactions the triads are provoking within you. By method of crossing out you will eventually arrive at the sound (or two or three, at the most) which you clearly feel good about; in addition there are triads which are plainly awkward to your feeling; whereat you get the urge to immediately shut it off. This is the sound (or sounds) that obviously bump into some energy block in your body. You are advised to still keep listening regularly to these triads; by deep breathing, and especially breathing out with deep sighs, and letting go of tension in your muscles, you will find that in course of time(which can take hours, days or even weeks!(it will become easier to listen to the triad(s). Eventually it will flow freely when the obstruction has been released. Some people notice this very well on a physical level, while others can feel their mental attitude has been affected. You may want to keep a diary of these changes. Incidentally, it may be that after six months or so you will need different sounds to take you to the next level! If you want to use one triad intensively as a therapeutic instrument you can program your CD-player to repeat this particular track over and over again. Finally, you can also listen to the whole sequence of triads as a kind of complete ‘sound bath’. You can do this by listening in the order of how it has been recorded, from up to down, but also in reverse sequence (in that case you need to program your player that way, or to make a special recording on tape or CD with the tracks in reverse order). Listening from 1 to 24 will bring your consciousness and energy from outward to inward, contemplation, meditation; in reverse order it has the effect of inward to outward, expression, creativity, get going of processes. Here the sound volume plays an important role; do not play too loud, but also not too low volume, depending on the effect you need. Do allow yourself enough time to listen(listening hastily in between chores does not work! Also afterwards you take some extra time to integrate your listening experience. HOW TO USE THE CHAKRA SOUNDS All listening directions mentioned in the triads section apply also for the chakra tones, so read these first if you did not already. You can have the chakras tested as well, just like the triads, or choose by intuitive listening which tones you need. You can best ‘absorb’ the chakra tones in an upright position, sitting with your spine as straight as possible, but not at all tense, with the speakers in front of you, or just behind you if you sit on the floor without a support. Try and experiment a bit what feels best for you concerning positioning and sound volume (sound volume: two meanings!). Try also the tones of the singing bowls in one sequence, and then the overtone vocals separately as well. You may well want to combine them the way they are recorded. If you want to activate energy try the series from first to seventh and set the volume proportionally loud. If your aim is to sedate and carry off energy you may want to try the series from top to bottom, while setting the volume not too loud (not too soft either!). From my own experience I might add that it is always good to end with the AOUM sound (track 39), and then remain sitting in complete silence for a couple of minutes, observing what has happened. Important: If you want to work on one particular chakra and the corresponding body parts or organs you are advised to use not only the one accessory tone, but also alternating the one below and the one above, and then end with the one in the middle! Passive or active listening You have an option to choose between several ways of listening, or rather: experiencing the sounds. You can just take it sitting or lying down, letting the cascade of sounds flow nicely through you and dream away. This applies to the triads as well as the chakra sounds. Take care that the sound volume is just not too loud; it should be a comfortable reverberation. Should you play the CD too loud there might be a chance that emotional charges are being released too rigorously, which should be coached professionally. So just sit or lay down comfortably, see to it that you are warm enough, and try and relax a bit, breath a couple of times very deeply in and (sigh) out. Then start listening. Just let go and it might even happen that you just fall asleep. The effects remain the same. Then there is a completely different way of listening: being very alert and experiencing the sounds attentively. Of course for this you need to have read all the background information so you know what you are doing. It can become a kind of meditation, a trip through the body, an intensive sound experience. You will notice that every time you listen again, new things will attract your attention. As you listen more often you will also get to deeper levels in your experience. The sound energy will work more profoundly when you at the same time breath deeply (yoga breathing is preferred of course). Without any tension or forcing you let the breath flow into the depth of your lungs and then effortlessly into your chest. Then let it all flow out again with a smooth sigh through the mouth. Wait a few seconds until the new breath comes by itself before you take in the next. For therapists a more refined directory is appropriate. They can directly apply a specific tone or triad, or sequences thereof, to their patients. They can check by muscle testing (kinesiology) which tracks should be used, with or without additional therapies. Patients may also get a CD for use at home, to listen several times a day to the tone or tones as a kind of ‘sound-medicine’. This is not the place to go deep into this matter. Specific information you can find in the books of Knauss and VandenBerg, or at one of their workshops. You can read more details about practical application of the sounds in the next chapters and the CD manual. 5 SOUNDS & EMOTIONS ease your mind with singing bowls “My work with music has always been to find a way to give the self, the soul, the spirit, the natural ego more room to move within this world. To find that sacred place where the mind, body, heart and emotions listen in alignment.” Don Campbell In our age, with such an extreme amount of impressions coming upon us through the media, the busy world around us and the many people we have to deal with, it is no wonder there is so much emotional instability. Not much of an impulse is needed to cause someone to freak out, be it highly aggressive or deeply grieved. A grab at the medicine chest is easily made, but does not solve anything. There is a continuous distortion of balance within us, and it seems we have no cure for it. When on top of this apparent securities are also falling apart, many will sink into a deep hopeless depression. Yet there is one simple fundamental, most of us will loose track of. Basically, in most people there is little room to maneuver because the balance is lost between tension and relaxation, in everyday’s life. Of course we may point at the world outside for causes, but still it boils down to this: when we are able to handle our daily life in a way there is more balance between tension, action, work, outward minded on the one hand, and another part of relaxation, letting go, being idle, inward minded on the other, we will create a firm emotional basis making us standing a lot firmer in our shoes. Yoga is a tool to be able work at this balance. If you succeed in building some moments in your daily life when you will just withdraw from the outside world for a little while, even just for a few minutes, and you will make a habit of this, you will find the effect working to your emotional advantage as well. Meaning, you will not be put out of countenance that easy. When you on top of that also learn how to handle your emotions by expressing them in a direct, appropriate way, you can have a world of wonders! Also sounds can be of aid here. Sounds can cause many pent-up emotions to come out, but they can also work wonders in a soothing or healing way on emotional wounds like divorce, farewell to loved ones or juvenile trauma. Just have another look at the list of triads in chapter 2. You can utilize these triple sounds with certain themes as these are mentioned there. Naturally it is essential with serious emotional problems to cooperate with an experienced therapist, but then also it is very well possible to use the sounds during sessions. Sound therapists often utilize various instruments while working with specific energy levels (chakras) in the body. For instance, for the base chakra they will choose metal wind instruments and drums; on the second level they use stringed instruments like a cello; at the third chakra stringed instruments like guitar, lute, harp; the fourth chakra will need stringed instruments like a violin; at the fifth wooden wind instruments like hobo, clarinet and recorder; to the sixth belong keyboards like organ an piano, and finally the seventh chakra the singing-voice. BREATHING TECHNIQUE WITH SOUNDS Among yoga breathing skills, Nadis Suddhi is a well-known practice, which is briefly described here. This is one of the most effective techniques, concerning emotional balance. While doing this technique you may listen to tracks 1, 4, 12, 14, 21 and 22 in this order, one by one. For instance, you can choose one track each day while doing Nadis Suddhi and feel afterwards if there is a change, how it affects your state of mind that day. Program your CD-player to repeat the same track over and over again. After you have experienced the whole series you may choose which one feels the best and is the most ‘present’ for you. Especially when working with emotionalities it is very important you can wrap the sounds around you, as it were, like a comfortable blanket, using a good sound equipment. So do not listen with headphones; this will not work sufficiently! This is the technique: NADIS SUDDHI (Nadi Sodhana) Alternate nostril breathing Sit upright in a comfortable position, as relaxed as possible. You may support your back with a cushion, or just sit on a straight chair. The most pleasant posture to do this breathing in is the one you see in the picture, with one knee up, supporting the elbow, while keeping your back straight. Now touch your forehead with the tips of your index and middle finger, so your head is supported by these fingers, and you can easily push the tips of your thumb and ring-finger at the nostrils, closing them alternately. There are other ways to do this but this is the most simple one. (foto ademhaling) Now breath in through the right nostril, by closing the left. Breath slowly(you can control it by narrowing the throat for just a little bit, so you will hear a soft ‘shhh’ inside your throat. The yogis call this uddshai breathing, which is done with almost every yoga asana. When your lungs are completely full, without exaggerating of course, you let the air out through the left nostril. Then wait a few seconds for the new breath, and breath in again through the same left nostril. Close and breath out through right. Pause, breath in through right, etcetera. Take care you do not go too slow, otherwise you will be short of breath. You will just have to try out how slow you can go within your limits. Keep on breathing this way as long as this goes effortless. At first it may be that during this breathing process you will experience a feeling of restlessness; try then to keep on doing the same breathing for a little while, because after thirty seconds this feeling will dissolve and you will enter a much deeper state. During this exercise our brain hemispheres are being balanced and within minutes we will enter the alpha-state of mind (the brain will produce mainly alpha waves, which is a sign of a quiet, relaxed state of being). In order to get this effect you need to do this breathing for at least three minutes. Naturally you will have to practice ‘dry’ for a couple of days, even weeks, till you can apply the technique when you really need it, like when you are really tense and restless, or when fear strikes again. It is not a repressing method, but a way of letting go of the surcharge if you will of your emotions. * Variant: Another way of doing this is, instead of listening to the CD, during the expirations humming the combined M-N tone (so the whole skull will resonate). This naturally slows down your expiration as well. TONING Another way of healing, softening and discharging of emotions is ‘toning’. Read also in this connection about the practice of AOUM singing in chapter 7. You will notice that combining it with the arm movements will be greatly rewarding. With this technique the same preparation time applies(you need to practice well before you can do it right. This way of vowel singing we call ‘toning’. In chapter 7 you will find several examples you can try, with an ample explanation. In the list below you see various vowel sounds with a description of properties. These properties have been established experimentally, but here also we can say that these are general patterns, which do not work the same with everyone. These are general tendencies which we may utilize when dealing with emotions. Working with sounds can work little miracles with emotional blocks. The list below shows the effects we can establish when we use the various vowels and sound combinations. It appears that the pitch is of lesser importance, although you might combine for instance the A-vowel with the pitch of the heart area, the tone F, like on the CD. (in kader) UU (as in foot) grounding, solidifying, more present in the body, calming, feeling of security. OO (as in show) awakening, better self image and feeling of identity, individuality, belly feeling. AA (as in yoga) reaching out to the world outside, feelings from the heart, feeling of making more room, space. EE (as in way) being able to express yourself, communication, also listening to others. II (as in sea) energy, rousing from lethargy, mental and physical stamina. MM more balance and harmony, more head-room (literally), very easing. EEM-NN-EH head, throat, neck and shoulders relax, you can express yourself better. AAH-MMAAH opens up the heart, gives room to expression of feelings & emotions. OH-MMAE centering, connecting head with feet and eases ways of expression. HUUMUUMM provides a deep grounding and solidity combined with inner peace. Can also be applied with fears. You can sing the sound UUOAIMMM to direct the energy upwardly, while you bring energy from your head into the body with sounds like MMIAOUUUUU. The last is excellent for people who are being too much ‘in the head’, like worriers, but also dreamers in the clouds. We might add here the special effect the major third chord has, which is stirring up optimistic feelings. All major chords on the CD do have this effect, but the A-major is often used especially for freeing of emotions (track 4). In Yoga we also know a series of combinations of consonants and vowels, that can be very effective for certain body functions, but may also be strengthening the will power, for instance. These are the bijaksharas or bija-mantras, which are being practiced before the exercises. In India they are always used during the performance of the Surya Namaskar, the Sun Salutation. The mantras always begin with the OM sound, and then (after a new breath) a forceful HHH which works as a cleaning of the lungs, then followed by a rolling RRR, activating the heart muscle, and thereafter the various vowel sounds which have their own resonating area in the body: OOOOM – vertebrae and head HRAM or HRAUM – heart, brain, respiratory system, ribcage HRIM – neck, throat, palate, nasal cavity, heart auricles, excessive mucus HRUUM – liver, stomach, spleen, small intestine, waist, chronic menstrual complaints HRAIM – an ancient initiative sound; works on unity and quietness in the head, deep relaxation in breast and shoulder area, opening deep mystical imagination within HRAH – chest and throat, lungs GROUNDING EXERCISE USING SOUND This exercise is excellent in times of insecurity, fear, fear of performance, being too much in the head, but also before doing your meditation or yoga movements, as a way to direct your attention inward. It is also important to do this to prevent draining of energy when you go visit the sick(especially in hospitals. I do this first thing every morning when I wake up. A very good start of your day! You’d better sit then lying down, because lying is connected with sleep, and you need to be fully awake, you will need your concentration! First you direct your attention to the sacrum and coccyx area, and imagine you are a tree, with its roots growing firmly and deeply into the earth. Imagine them big and strong, as deep as you can imagine. And they are an extension of you. Next step is to paint these root in the color you like best, today (may be different tomorrow!). A very bright, vivid color. If no particular color comes up, you can always choose earth colors like ochre or green (and yes, ochre can be bright and vivid too!). Then write your own name in big shining letters on these roots, with the day of the week and the date of today. If this is too hard for you to imagine, then say your name, day and date out-loud or silently inside. This works fine too. With this act you have actualized yourself in the here and now. You may hum the sound HUUMUUMM when visualizing yourself solidly connected with these roots, your roots with your name and your color. You can also program tracks 24 and/or 25 on your CD player for this first part; then for the second part track 38, finishing the visualization with track 39, the AOUM. For the second part you go to the space directly above your head, and visualize there a huge, radiating sun, with the same warmth and light as the real sun. This symbolizes your own life energy, an ever plenty supply(there is always more than enough! This sun is as big as the whole room. Now imagine a part of this sun coming down. First over and into your head, transforming all darkness into bright sunlight, then further down around and inside your body, arms and legs. Cleansing, purifying light. Now your sun is inside you, radiating its light and warmth into all directions: to the front, the back, to the left and right, above an below. It is your shining, protecting aura all around you, not a few inches, but filling the whole room… With or without the CD, you sing now the AOUM sound, several times, as many as you feel fit at the moment. Try and see the whole picture of you and your energy field, connected with the eternal energy supply above you and the colored earth rooting below. Then, for another while, sit still and be silent(without and within. * Tip: At first you can ask someone else to read this text and push the buttons of the CD player, while you do the visualization. This way you can learn how practice and eventually do it by yourself. EMOTIONAL RELEASE USING YOGA MOVEMENT & SOUND In the pelvis area are often deep seated emotional blocks. ‘Backbone’ of this exercise is the yoga asana Sethu Bandhasana, the bridge. Lying down on your back you pull up your knees, so the back is completely flat and touching the floor. Use a soft but solid mat, not a bed. The arms are alongside and close to, or better even just under the body. First allow your breath to flow deeply into your belly, as if the whole belly is filled with the breath. This is exactly the almost impossible thing to do for people with emotional blocks. Just try and let it go as far as possible, then sigh with your mouth wide open: HAAA. Next, with a following expiration (yes, that is right, breathing out!) push your pelvis quietly but steady upward as far as you are able, without forcing it. Hold this position for a moment while you breath in again. Then, breathing out let (the lower part of) your body drop down to the mat with a thud. The expiration sound should come ‘by itself’, so let your body indicate this, without thinking at all. It could be a HA, or a HU, etcetera. Or, experiment with different sounds and feel what works best. Repeat the same sequence several times. Someone else will then be able to hear in the pitch of your voice that emotions are being released from your lower back and pelvis area. Afterwards, stretch your legs again, or lay down on your (left) side in the fetus position, sensing the effects. Breath quietly once more and sigh deeply a few times. Let go. CONNECTING AND ACTIVATING THE TRIANGLE THYMUS, SPLEEN & LIVER Finally an exercise for exciting vitality and optimism(always a good one to do! You may want to listen to tracks 30 and/or 31 of the CD (only singing bowls, or sing along with the vocals). The thymus is part of the hormone system; this gland produces hormones for the body’s defense mechanism and it has a direct connection with the release of certain brain substances like serotonin. So if your thymus works well you will have a strong immune system as well and generally you feel good. By tapping at your sternum (behind the breastbone is your thymus), about 2 inches below the dimple down at the front of your neck, you will activate the thymus secretion. The spleen is also a sensitive organ, which has also to do with the general life energy. On this area, left from your stomach just below the ribs, you can activate this gland by tapping. Then on the right at the same level just below the ribs you have the liver. A multifunctional laboratory which, apart from at least ten different functions in the physical area, has more than often an emotional load to digest. In this exercise, by connecting the three organs while at the same time toning specific sounds, you will harmonize this triangle on an energy level. Sit or stand straight, in a relaxed position; it is best to stand. First allow a few deep breaths to come in and flow out easily. Relax your shoulders and jaw. Begin tapping the thymus area at your sternum. Join the fingertips of one hand and tap quietly (3 or 4 taps per second). At the same time direct all concentration to this area. Smile! Then breath in and shout (shout let it all out…) the word KAH, with a short but very powerful A, as in car, and the H like a sigh at the end of your breath. Continue this tapping for about two minutes, repeat the shout a few times more, then breath normally and feel the effect. Now lay your left hand an your left side just below the ribs, and tap with the whole of your hand, while singing the vowel HUU (as in shoe), with a long-drawn U. Do this also for about two minutes, or as long as it feels good for you, and then let your hand rest for a while there, while your right hand rests on the sternum/thymus. Be quiet, focused, and sensitive. Next, lay your right hand on the liver area, on the right side just below the ribs. Start breathing deeply once more. Visualize a flow of positive light energy directly into your thymus. While breathing out you sing again this HUU sound and imagine a golden light triangle, the vital energy connection between thymus and both belly organs. Continue this for a few minutes, or as long as you can keep your focus, or as long it feels all right. Then it will be completely silent again. You will sense and feel fine in this silence, while your breath is normal. Also experiment with the energy flow exercise of chapter 7. In closing, a quote from Paul Madaule, adept of the great Dr. Tomatis, founder of the Sound Therapy: ‘Music is the greatest organizer of the world of sound and language, by attuning the ear and stimulating the brain. The ear does not only perceive sound, it also works on the body. The “ear of the body” not only controls balance, it makes us aware of every movement and connects us with the world around us. Because of its action on the ear as a whole, music acts as a fine tuner. We need music and physical movement to develop focus, self-regulation, self-control, concentration, all those skills which form a base for nonverbal and verbal communication, and for the learning process.” 6 NOTES ON ESOTERIC SOUND & YOGA the way to the inner worlds Nada Yoga Sadhana We humans have a natural inclination to be drawn to sound en music. Most people, also (especially!) children and even animals like listening to music. Naturally(by nature(we know many differences in taste, but this natural attraction is always present. When we hear rhythmical music we feel the natural urge to move along and dance to the rhythm. When hearing relaxing sounds we feel the delightful effects in our muscles and in our minds. In Nada Yoga the ultimate goal is, after a long-term preparation and meditation upon specially selected sounds(mostly of the human voice, the mantras(to be able to perceive the anahat sounds within. The word mantra comes from manas (mind, awareness) and tra (protection). So a mantra is a way to direct our thoughts in a safe way, in order to put them to rest. Nada Yoga is part of the Kriya Yoga, the yoga of various techniques, the kriyas. Within Kriya Yoga we know three main currents in which meditation on sound is practiced as a path to spiritual growth and self-realization: Nada, Laya and Surat Shabd Yoga. Mantras will be repeated during meditation; these mantras are confided to the disciple during his initiation. Nada Yoga distinguishes three kinds of sounds: the ordinary worldly sounds (Vaikhari), more subtle sounds (Madhyama, Pashyanti) and the pure inner sounds one cannot hear with the normal hearing (Para Nada). In Laya Yoga meditation is on both sound and light. Eventually the meditator gets access to the inner sounds (nadam) which in the end absorb the entire consciousness, and where there is no difference anymore between sound and light(they melt into one. This is a very pleasant kind of meditation, during which the whole being will be purified and balanced by the sounds you meditate on. There have been various ashrams in India that practiced the yoga of sound, like Maharishi Mehidas, Kabir, Kirpal Singh, and the gurus of Surat Shabd (Radha Soami), going back alle the way to the well-known Guru Nanak (1469-1539). A special aspect of Surat Shabd Yoga(also called Sahaj Yoga(is that the disciple during his initiation will be directly connected by the Master with Shabd Dhun, the divine audible lifestream and the Satguru, a living master who can lead him in his Nuri Sarup, his radiant light form within, safely through the inner realms till the final stage, Sach Khand. In an advanced state, from the third realm, Trikuti, sound and light will melt into one force, the Shabd. This yoga of the Great Masters is the oldest of all kinds of yoga, and it keeps itself far from all dogmas and rituals or preparatory techniques. While repeating the mantras (Simran) the initiate sits in sidhasana, the regular posture (see picture in the next chapter); he will concentrate on the area between and just above the eyebrows, the sixth chakra, also named the ‘third eye’ (Tisra Til). Then, when concentrating on the inner sounds, he sits in a kind of squat, supporting his head with the hands, and closing his ears with the thumbs. Foto hurkhouding When the first inner sound will be clearly audible, very subtle in the background sounds the next one; to this next sound the meditator is directing his attention. Some inner sounds resemble the buzzing of a bee, others like a harp or a flute. In the ancient books (for instance the Adhyaya IV) these sounds belonging to the five main spiritual realms are very precisely defined. And so the concentration will advance even deeper and deeper, from one sound to the other, till the final one. In a famous book, the Bhagavata (not to be confused with the Bhagavad Gita) the life of Krishna is told like an allegory of the way of the soul after initiation in Nada Yoga: “At midnight Krishna left his palace and entered the forest. The light of the full moon was shining brightly in this first month of winter. And then he began playing his flute. The echo of the flute spread through the entire area and was heard by the Gopis (cowherd girls). And when they heard the sound of the flute, they left immediately their homes, left their men behind and forgot everything that had happened before.” The Nada Yogis see Krishna as a representation of a higher state of consciousness, where the sacred audible life stream will be heard during deep meditation. When they are hearing the flute, the senses are no longer drawn to the worldly pleasures, because the flute sounds so much nicer. They withdraw from the world and come together in the place where Nada flows. There they dance around Nada and forget everything they were bound to before in the outside world. The word Krishna comes from the root ‘karshan’, meaning ‘that which attracts’. The word has also a common meaning as ‘farmer’. A farmer ‘attracts’ his harvest from the earth. The word Gopi means in common language ‘daughter of a cowherd family’, but in Sanskrit ‘go’ means ‘sense, cow, humble’. So the symbolic meaning of Gopi is ‘senses who surrender, like cows to their herdsman’. The husbands of the Gopis are symbols of the shapes and sounds the senses are bound to in this world. When the sound of the flute, the anahat, rings through the forest of the inner realms, the senses are being detached from the attraction of earthly pleasures, and will melt with the inner Nada. This process is called Pratyahara. 7 YOGA, CHAKRA’S & SOUND through sound to the ultimate silence within In the first half of the last century, the scientist and Viennese singer Dr. Benno Max Leser-Lasario spent twenty-five years of his life studying the effects of sound vibrations to the human organism. Because of his work, it was scientifically irrefutably proved that pronouncing or singing of vowels provokes a vibration inside the organs and tissues, even the deepest nerve cells and glandulars; especially the endocrine glands and the lymphatic system appear to be very reactive and functioning better(of course by using the right harmonics. His method was further evaluated and developed by Ilse Middendorf, who wrote a book The Experiential Breath. The effects of sound vibrations to our body, and also to our ‘subtle energy bodies’, were already known for ages in the Far East. These sound vibrations were directly applied in various yoga schools, of which the most known is the singing of mantras. Mantras, application of effective timbre Mantras are words or sentences with a very specific meaning or effect. The word mantra means literally ‘the intention which liberates and protects’. There are two kinds of mantras: one with words having a purely spiritual meaning, comparable to Christian prayers or rhetorics, or sometimes with a kind of protective magical formula, and on the other hand mantras with an intrinsic sound pattern which has a direct and beneficial influence on mind and body. In the context of this book, the latter obviously are the most interesting. The best known and most used mantra is the OM or AOUM; this will be extensively described later on in this chapter. OM is part of a series of so-called bija mantras, vowel words belonging to the first six chakras: Lam, Vam, Ram, Yam, Ham and Om. In the picture you see those six chakras, with above the head another series, corresponding with the inner realms with each its specific sound which the Nada Yogi will hear during his meditation. (afbeelding chakra’s) In Surat Shabd Yoga the seekers are initiated by the Master after acceptance, and during this initiation they will receive the five mantras, belonging to the five spiritual realms, as a kind of keywords enabling them to cross these realms safely, continually connected with their inner Master, to eventually reach the enlightened state. Also the Transcendental Meditation (TM) and Eckankar Meditation utilize specific mantras as a help in concentration, to keep the attention completely inwardly during meditation and to contact the inner realms. Other well-known mantras are: Tat Sat, Om Mane Padme Hum, Om Ah Hum, So-Ham, Om Namah Shivaya. Incidentally, not only the Indians have been using mantras; also in ancient Egypt priests were taught how to heal with specific sounds. It is said that in Atlantis sounds were extensively utilized for healing. The Islamites use La Ilaha Illa’llah and An-Nur, the Jews say Baruch Ata Adonai, the Sufis Hu E-haij and H-la, the Celts Awn Ah-un, and the Christians Kyrie Eleison and Laudamus Te. In chapter 5 we mentioned already the rolling soundscapes HRAM, HRIM, etcetera, which directly activate certain organs and body parts. About the vowels belonging to the chakras, as recorded on the CD in this book, you could also say they are mantras, in the most literal sense. SIDDHASANA – listening to, and singing with the chakra tones in a meditative posture (2 foto’s zithoudingen, 1 van de Indier, 2 een knielhouding van opzij) In this meditative posture (or any other similar position, like kneeling) we can visualize the chakras in their beautiful, bright colors, while we simultaneously listen to the chakra tones of the CD. It is not advisable to listen lying down, because during this sound experience you have to be wide awake an clear-minded. Eventually you can also practice ‘toning’ together with the color visualization, in the sequence you want to use. You will notice that when you work with the sounds in this meditative posture you will be able to keep your attention inside much easier. After you have, for example, been toning with the A-vowel and afterwards there is only silence, it will be like the sound is continuing on the inside, on a more subtle level. Also the conception of time will be different: half an hour of ‘toning’ will feel like only five minutes! BREATHING EXERCISE WITH SOUNDS: CHEST EXPANDER As an introduction to the use of sounds during yoga postures, just letting the sounds of the CD do their healing work, you can don this preparatory exercise, to become aware of the resonances of the soundtracks and also to release energy blocks in your breathing area. This exercise makes your chest breathing easier and opens up your ribcage and lungs, but at the same time your posture will improve, dropping shoulders are corrected and a oxygenated blood flow is clearing your head. One of the things this exercise can accomplish is a beneficial effect to headaches, especially the mmm-humming. But of course, do not do the bending down part when you have a headache, because of the increased pressure. First perform this exercise two or three times without the sound, then you can combine movement and sound. Stand with your feet somewhat apart and keep the knees a little bit loose (do never stretch your knees completely, as this will hurt the joints and eventually will result in complaints). Grab your hands together at the back and first stretch the arms straight, or as straight as possible. You will feel your shoulders go backwards and the shoulder-blades come together. If you do not do this first, the whole exercise will fail! Now let the breath flow in slowly, as deep as possible, with the accent on the expansion of the rib cage. At the same time the arms are pulled backward as far as it easily goes, and your head follows the whole movement, bends back a little. You can breath deeply in this posture for another three times. The second part is that you bend over breathing out, keeping your arms as far back/upward as possible, until your head is hanging loosely close to the knees. (Later you can include humming the mmm when doing this movement.) In the beginning you do not keep hanging for long in this position; later on you can increase the time to one or two minutes hanging (and humming!) with the head down. Then let your arms drop down as well, shaking them loose, wobbling your head. Push the last bit of air out, then with a new breath come up slowly but steady, like a marionette, breathing normally, until you stand straight. Never try to do this too fast, otherwise you will feel dizzy. Pause for a little while until the next time you do the same movements. This simple exercise you can combine with the humming, but as well with other sounds like AAA, or HRRAAA, or HRRAAAMMM. Try and feel what feels the most effective. Feel where in the body you can perceive the vibrations. Also take time to relax and feel the sensations after this exercise. LIFE ENERGY FLOWING EXERCISE: HARMONY In this exercise you will work with various series of sounds. The pitch is of lesser importance, although you can act along with the last track of the CD and hum in this pitch. This technique will put you in the here and now, while various aspects of your personality are being connected and harmonized. One word covers the overall effect: harmony. You can sit on a straight chair, but you may do it best standing up, if need be against the wall, so you will not loose balance with your eyes closed. Do not sing the vowels apart from each other, but combined in one breath(one flows into the other. Likewise you will have a flowing connection in the body. Do observe your breath so you will have ample to sing the whole sequence, and not be empty half way! (1 foto) Relax, close your eyes and breathe a few times slowly, in and out. Let go of all unnecessary tension, especially in your face and shoulder muscles. Then sing a few minutes with each breath the sounds III-UUU-MM-NN. (I as in sea, U as in foot). Feel the resonance in you body, larynx, neck, head. With the sound you will create a feeling of expansion, letting go, in your head. Next, you bring the energy to your trunk using the sounds NN-UUU-OOO-HUU-MMM. Again for a few minutes, with each long expiration. You might put your hands just below the ribs on the area of spleen and liver. You close by laying both hands on your heart, singing a nice, full AAA (as in yoga), mouth wide open, for a few times, as many as you wish. If you did this exercise standing up, you may take a seat now. Take your time to sense the subtle effects. (Jaap, tracht hier een linkerpagina te houden voor foto’s van yoga asana’s met de tekst hieronder dan op de rechterpagina) ASANAS – COMBINING YOGA POSTURES WITH SOUNDS Asana is Sanskrit for sitting motionless; asanas are the body postures which are so characteristic for Hatha Yoga: by way of a slow movement one comes finally at a totally relaxed, motionless pose, which is maintained for a few breaths to a few minutes, and then returns to the starting position, relaxing completely once more. The whole movement may be repeated several times. All the time the asana is supported by a continuous, slow, deep and complete respiration. These yoga asanas evolved in the course of the ages into a perfect, well-balanced system of very deep influencing poses which are not only beneficial to the body: muscles, joints, organs, tissues and glands; the energy flow is also directly improved. Essential junctions in this energy system are the chakras, the energy centers along the spine and in the head, which we already briefly discussed in the chapter about the triads. A pose like the well known shoulderstand, in which the frontal neck area is amply flushed with oxygenated blood, will also positively influence the fifth chakra. If you want to apply sounds when practicing Hatha Yoga you will have to be very selective. First, almost never you should turn the volume up very loud; this would only disturb your concentration on the movements and the details of your exercises. There are some exceptions, for instance if you want to have a specific sound resonate in a certain body part, like your chest. Then it can be allowed for a moment to let it all out. This is also the practice in emotional bodywork (various therapies) when in a certain motionless posture, with intentional pressure on one or more specific points on the body, by means of the sound vibrations a huge emotional load will be released(the catharsis. Still, in general, we should better keep the volume down at a comfortable level, as a harmonizing starry sky of sounds in the background. And make no mistake: also at a lower volume the singing bowls and vocals of the CD may have a profound effect! Some people prefer the use of sound and music during their yoga practice. Others opt for pure silence. In my experience as a yoga teacher, most beginners like to practice with relaxing sounds in the background, like new age music, singing bowls or pure nature, to mask other disturbing sounds from outside, while students as they evolve and are able to concentrate better prefer practicing in silence, with their attention inside the body. These advanced students can of course positively use the very specific sounds like those on the CD in this book(a certain triad to go with a certain asana, or a chakra-vowel with a corresponding pose or meditation. It would be impossible to describe here the performance and technique of some yoga asanas, because these poses always ought to be trained carefully under the guidance of a certified teacher, who will pay attention to all subtle details. If you are lucky to find a yoga teacher who is familiar with Polarity Yoga (Dr. Randolph Stone) you will certainly find special asanas related to the chakras. Here I will just show a list of names (in Sanskrit and the usual English appellation) of the classical Hatha Yoga asanas, together with the corresponding chakras these asanas are related to. The list is not complete, but it does contain the most practiced poses. The effects will always be harmonizing, because the sounds are harmonic in structure and resonance, with harmonic overtones. Still, it could well be that at first all kinds of awkward, yes even a little unpleasant things may happen, like completely unexpected emotional eruptions, or thought images, little pains in he body, shivers, muscular reactions and temperature fluctuations (very cold or very hot). Actually all these phenomena are only a good sign: something is happening on an energy level(just let it all hang out. Breathe deeply throughout the happening, breathe out with deep sighs (sometimes it even has to erupt, crying out loud!) so the charge underneath will be released. You will notice that, when you let it all just happen without trying to control it and release these blocks and tensions, after a while you will feel more space in a certain chakra area, which may have been completely blocked before. Keep on listening and experiencing. It is already one of the main properties of yoga practice to always breathe completely and deeply; think about this, especially when using sound with it. Remains to say that you never should begin practicing yoga asanas on your own (from a book, for instance). Always learn the asanas under expert guidance of a yoga teacher with ample experience. You can do so many things the wrong way, even cause harm if you experiment by your own without knowing what should be done. Only when you master your asanas you may use specific sounds as a complementation and enhancement of the asanas. Like I said before, a beginner you do have the option of using the chakra sounds softly in the background during your yoga practice. You will then still benefit of the subtle effect and learn what it feels like. (Enkele foto’s asana’s hier met onderschrift) Track 24/25 First chakra: Shalabhasana – locust (half and whole) Mayorasana - peacock Bhujangasana – cobra (first stage, only using back muscles) Combination of locust and cobra Sethu Bandhasana – bridge pose Tracks 26/27 Second chakra: Shalabhasana – locust (mostly the whole) Bhujangasana – cobra (second stage, relaxed back muscles) Combinatie of locust and cobra Sethu Bandhasana – bridge pose Dhanurasana – bow Trikonasana – triangle Tracks 28/29 Third chakra: Janusirasana – head to knee pose Paschimotanasana – head-knee pose Pavanamuktasana or Vatayanasana – knee to chest pose (one and two legs) Kurmasana – tortoise Dhanurasana – bow (second stage, relaxed back muscles) Bhujangasana – cobra Chakrasana – wheel pose Tracks 30/31 Fourth chakra: Matsyasana – fish (different variants) Dhanurasana – bow Chest expander (foto) Ardha Matsyendrasana – spinal twist Tracks 32/33 Fifth chakra: Hoofddraai Simhasana – lion (putting out tongue) Viparita Karani – half shoulderstand Sarwangasana – complete shoulderstand Halasana - plow Matsyasana – fish Tracks 34/35 Sixth chakra: Nadis suddhi (Anuloma Viloma) – alternate breathing Kapalabathi – breathing exercise for a clear head Tracks 36/37/38 Seventh chakra Padahastasana – standing hands to feet pose Ado Mukha Svanasana – reversed V-pose on hands and feet Sirshasana – headstand. First perform the asana in complete silence, then listen in meditative pose to the sound! All exercises described so far are actually just a preparation for the real Nada Yoga, which commence only when one will hear the inner sounds. As stated before, this is the practice of an initiate, so we will not go further into this matter. What we can do though is, after having performed a number of asanas together with specific sounds, the practicing of, and meditating upon the AOUM sound, as it is described below. * * * AOUM (hierbij afbeelding van het aum-teken) In the age-old traditions of India we continually encounter the sound OM, or rather AOUM, as a ‘holy’ sound in the most literal sense, as in holistic, making whole, harmonizing. On the CD in this book you can listen to this sound, and sing along with the sound. In the last chapter, the transcendental sound, Para Nada or Shabd, was defined. This ‘Divine’ sound, this sound current, will be so attractive to the meditator that his mind is pulled up by it, towards the inner realms. The vibrations are far beyond the hearing limit so these cannot be heard by the physical ears, only by the ‘inner ear’. Although the OM-sound obviously belongs to the Vaikhari sounds, it is considered to be the purest sound that also will draw the attention inside of the body, and then upwards to the head (see spiral in the picture). That is why in the Upanishads the mantra OM is defined as the manifestation of Para. The audible, spoken or sung OM is not Para, because we can perceive it with our hearing, but it is a reflection of the inner sound. Patanjali, the founder of yoga, describes in his classic Yoga Sutras the OM as “the sound being the expression of the Divine Principle”, which ought to be repeated continuously in order to transcend to the inner realms. The well-known Chladni physics tests with dry sand on a metal plate show in resonation with the AOUM-sound a beautiful harmonic mandala-like pattern. In the sixties the scientist Hans Jenny also experimented with these sound images on a computer screen. (2 afbeeldingen) The yogi who practices Nada Yoga will use the bija mantras to activate the chakras and in consequence to activate the life energy flow in the body. For each chakra there are special postures and vocalic sounds to be able to perceive the vibrations in the power center. Because this can only be practiced under the expert guidance of an experienced master, it makes no sense to elaborate further upon this matter. The sound OM, or better still AOUM, eventually ends in vibration (M) at the brow chakra, Ajna Chakra. When the student will direct his attention here, the real Nada Yoga begins, like described in chapter 6. Another interpretation of the AOUM(which may be integrated in one of the active voices described below(is that the A stands for the unending energy of the cosmos, the omnipresent love energy; the OU is the sound manifesting and materializing this energy into our awareness, while the M allows us to absorb and integrate this energy into our being on all levels. In the beautiful Manuka Upanishad are the four elements of AOUM defined as expressions of the four layers of consciousness: the waking state, the dream state or meditative inner awareness, the deep dreamless sleep or deep, silent meditation (Zen), and finally the cosmic consciousness or unification with the Source. Yet another approach is based on a visualization: first with the mouth wide open throwing out all flaws or psychical ballast (A), then arriving at a ‘purely spiritual state’ with the mouth gradually closing, to finally come to the MMM, when all attention will be retracted from the outside world and completely present inside of the head. In comparison you may read again in chapter 5 about the relation between vowels and corresponding emotions, and about the other humming exercises OUAIM and MIAOU. As related there already, various vowels will resonate in certain parts of our body. When we are singing the AOUM mantra, first the AA resonates in the heart/lung area, then the OO vibration will be felt in the stomach and solar plexus, then the UU all the way down into the lower belly and the base of the spine. Finally the long MM sound will resonate in the whole of the spine and inside the head. In the picture you see the way the resonance goes, like a spiral, through the body during the singing of the AOUM. Now you will understand how when you concentrate on the resonance, the attention finally will end up inside the head, in the eye center, the ‘third eye’. And also why this AOUM sound is an ideal preparation for meditation, with the awareness will be completely withdrawn into the brow chakra. On the CD you will hear after the last AOUM that the sound turns higher and subtler, as an imagination of the consciousness being pulled up to the higher realms. After the singing the meditator will be totally still, outside and inside, and it is in this inside stillness when the Shabda, the inner sound, can manifest. The sound behind the sound Even for those who never did experience the subtle energy flows, the physical resonance of vowels will be an excellent way to more willingly accept that subtle energy is resonating as well, in the same way. Moreover, it is a safe method. Vowels contain harmonic overtone sequences, which actually can only have a positive effect whatsoever. The practice of AOUM The advised sitting position is the already mentioned Siddhasana, but the kneeling position is also very well useful. Advantage for many people is they can maintain a straight back much easier kneeling down, which is crucial with this sit. If need be you may use props or pillows, beneath the insteps of the feet and between feet and bottom; better still use a low meditation seat, with your feet unburdened underneath. If you are unable to bend the knees that far in these positions, just sit on a chair with a straight back. First you start practicing and experiencing where in the body you feel the strongest vibration. Just sing the vowels first seperately. Feel the A mostly resonating in the stomach area and chest, and in front/center of the oral cavity. The O resonates in the whole of the upper belly (solar plexus), and in the mouth a little more to the back. The U is very deep, in the whole of the lower belly and in the spine below; the sound almost disappears into the back of the oral cavity, into the throat. Feel also how the tongue will shape with these sounds. Then, the MMM sound will be felt more in the spine itself, up to and inside of the head. Do experiment also with the MMM and the NNN seperately. While humming the NNN mainly the frontal part of your head will resonate(the whole face and the sinuses. The MMM you feel more in the skull and brain. When you then sing the M and N at the same time, in other words with your mouth closed and the tip of your tongue to the point just behind the front teeth, your whole head will resonate with the sound. So, when you are singing the AOUM sound you also do the M and N simultaneously, in order to get a more complete resonation of the head. The pitch is of lesser importance. Try and find a note which suit well with your voice, is the least straining and at the same time feels the most pleasant. If you want to go all the way then listen to track 34/35; also try track 13 and/or 24. After some time you can of course sing the sound without the CD, as a regular item of your daily yoga- and/or meditation practice. Now it is getting interesting: after you have sung the AOUM several times outloud, you continue ‘singing’ the same sound internally, in your mind, so you imagine singing AOUM, only without using your voice (madhyama). It is just like when you first concentrate on an object, and then with your eyes closed try and ‘see’ the same object in your mind. At first you can do this while the muscles of your tongue and jaw still make the same movements, and in the same rhythm as your gradual expiration. After a long time of practice then comes the stage when the mantra will repeat itself, as it were(or could we speak here of by the Self?(without you doing effort. A variation could be that, while repeating the sound internally, you imagine that with every breath you are singing the sound one pitch higher. If you find this too hard, you might start over again with the audible sounds first. But the good thing about this meditation is that when you do this internally you will be able to get much, much higher than using your real voice. The effect is very special, but also very hard to describe(you just have to experience it yourself. On the CD you will hear an imagination of this effect on track 39. So the sound will repeat itself by itself, and your consciousness will be one with the sound (pashyanti). The final stage will be that the awareness enters the inner realms of Para, which we already discussed in chapter 6, and which goes beyond the limits of this do-it-yourself practice, because these realms can only be entered by an initiate, under the guidance of a Master. The first three stages, though, are quite safe, when they are acquired gradually, if possible supervised by an experienced friend or teacher, if your feel insecure yourself. The result will be a complete stillness of the mind, a delicate, deliciously relaxed awareness, you can remain in as long as feels good. Then there are two more, simple ways to combine the AOUM sound with a gracious yoga movement. In these lovely, harmonizing movements you are supposed to sing the AOUM in one long-drawn-out breath. Meaning you do not hang on too long to the A, otherwise you will be out of breath before you are even at the M! That needs a little practice, but you will learn quickly to adapt the sound to the length of your breath. It is an art to eventually move and breathe without any tension, like a ballet dancer. That way sound, breath and movement will become as one. Unification (3 foto’s) Stand with the feet a little apart and your knees loose, the arms relaxed alongside the body and also the shoulders heavy. Take a few quiet and deep breaths and sigh out loud. Center yourself. With another deep breath(let it go all the way deep down your belly(you open your mouth as if you are already taking in the A-sound. Now begin singing the A while spreading your arms wide open, like opening yourself to embrace the sound in the space before you. While the sound transforms seamlessly into the O and the U, you gradually bring your arms together in front of you, like you are taking something very precious into your hands. Visualise something that is round and radiating light. As the sound now changes into the elongated MMM, the hands are moving together with their precious radiating treasure towards your chest, to the heart chakra. In the following silence you lay both hands at your chest and breathe quietly, while a smile enlightens your face. You may repeat this sound movement a few times, with always a pause in between of a few quiet breaths. This is a very special, calming but simple sound movement that brings your attention from the outside inward. *Before you do this one you can first do the Chest Expander a few times (see the beginning of this chapter). This combination could well do as an effective focussing and calming “five minute session” sometime in between your working hours. The other version, Surrendering, goes like this: Sit on your heels, if needed with a bolster or pillow in between your heels and bottom, knees a little apart for sideways equillibrium. Again you may begin with a few deep breathings to concentrate, and then, while breathing in slowly and completely, stretch out your arms above your head; look up also. From there you start singing a nice, mouth wide open A, while very gradually bending forward with arms and torso. The A transforms into the O and the U, and meanwhile the arms move sidewards and backwards alongside the body, while your head comes closer to the floor in front of the knees. During the long MMM the head lies heavily on the floor, or on a prop if you cannot touch the floor, and the arms and shoulders lie relaxed and heavy. When kneeling you are supposed to keep your bottom at, or as near as possible at your heels! Breathe a few times quietly in this relaxed pose, then return slowly and with a rounded back to the up position. Ideal is repeating the sound movement three to five times. This is a pose of surrender, of letting go. Ideal before going to sleep, as a kind of closure of your day. Then finally there is also the practice of singing the AOUM in a group. Humming the MMM sound can work very ‘equalizing’, for instance during heated discussions or meetings, when the feeling is running high, to calme down and create room for new openings. I have heard many beautiful stories like this from my own students, putting into practice what they had learned in the yoga class. Singing of AOUM in a group is more and more being done by therapists, at the beginning of therapy sessions and group meditations. It can mean a beautiful transition to the sessions, and can give direction to an intention. It creates a sense of peace and harmony. * * * Let me close this chapter with a narration from Swami Janakananda from the Scandinavian Yoga and Meditation School: “In 1974 I participated in a conference in Denmark where doctors, psychologists, authors and others, as well as myself representing yoga, were invited by the Ministry of Education to exchange ideas on psychosomatics (the relationship and interaction between body and mind). I happened to tell a young scientist there that we know methods in yoga where you do not have to suffer in order to liberate yourself from old influences or tensions, where you do not always have to confront your traumas, but where you can dissolve these, using other methods. I was thinking about Laya Yoga and especially the discipline within Laya Yoga which is called Nada Yoga, where you concentrate on the inner sounds. Despite the immediate interest of the scientist it must have sounded rather shocking to his ears, despite the ostensible independence of science in relation to religion, the basic belief still prevails that things must hurt first before they do us good…” (Bindu, Yoga Magazine, Denmark, 1973) HOW TO LISTEN on all levels CD MANUAL For listening to the CD you need a good sound system. Mainly the loudspeakers ought to be preferably 50 Watts or more, surround would be nice, so you can bathe yourself in the sounds all around you. Read before you start listening first the directions in this book thoroughly; especially those in chapters 2 and 4. Also in chapter 7 you can find directions. The first 24 tracks contain all triads described in chapter 2. The use of these triads depends on what you wish to accomplish. As an example, when you perform a yoga asana, aimed at opening up and activating the heart chakra, then choose for the (programmed) sequence D-major, B-major, d-minor, f-minor and fis-minor. With a total of about ten minutes you will then have a basic sound combination for the performance of the asana, including the relaxation period following the asana. As described in chapter 4 there are various ways to test which triad you need at a certain moment. So read this chapter first before you start listening with a special goal. If you want to be sure, try and find an experienced kinesio-therapist who knows how to test it with you. The triads that you choose you can program on your CD player; you might even make a separate recording on a tape or burn it on a CD. You can also listen to the whole series of triads, but when you do this take care you have plenty of time and rest, to listen to the end; it is not advisable to stop listening halfway. If you wish to direct your energy more outwardly, are you in a creative process or do you wish to improve communication, the first series (major) triads will do fine. On the other hand, if you want to direct the attention inwardly, like during therapy, you may choose the second series (minor) triads. 1 triad C-major C-E-G 2 triad G- major G-B-D 3 triad D- major D-Fis-A 4 triad A- major A-Cis-E 5 triad E- major E-Gis-B’ 6 triad B’- major B’-Dis-Fis 7 triad Fis- major Fis-Ais-Cis 8 triad F- major F-A-C 9 triad B- major B-D-F 10 triad Es- major Es-G-B 11 triad As- major As-C-Es 12 triad Des- major Des-F-As 13 triad a-minor a-c-e 14 triad e- minor e-g-b’ 15 triad b’- minor b’-d-fis 16 triad fis- minor fis-a-cis 17 triad cis- minor cis-e-gis 18 triad gis minor gis-bis’-dis 19 triad d- minor d-f-a 20 triad g- minor g-b-d 21 triad c- minor c-es-g 22 triad f- minor f-as-c 23 triad b- minor b-des-f 24 triad dis-minor dis-fis-ais The next tracks are for chakra toning, alternately with singing bowls and overtone chanting with vowels. In between tracks are half minutes of silence, then as a transition to the next chakra you will hear sounds of a rainstick. These rainstick sounds have with the lower chakras a center-to-wide effect(creating space(while at the top chakras the effect is wide-to-center, a centering effect. Here also you can listen to all 14 soundtracks in one sequence, as a listening meditation of about half an hour; you can also listen during your daily yoga routine. Of course you can apply these sounds very specifically as well: take for instance in the morning for a stimulating effect and energy balancing the sequence 26-32-38-39, or just for relaxing and balancing (or before going to sleep) the sequence 39-38-32-26. You may choose for a series of just one chakra tone, or three successive tones, programmed ‘repeat’ on your player when you are doing a yoga asana that has an effect on the same area as the tone or tones. Experience will teach what works best for you. 25 singing bowl chakra 1 tone C pelvis, bottom red 26 overtone chant chakra 1 vowel UU as in ‘foot’ 27 singing bowl chakra 2 tone D lower belly orange 28 overtone chant chakra 2 vowel OO as in ‘show’ 29 singing bowl chakra 3 tone E stomach area, golden yellow 30 overtone chant chakra 3 vowel OH as in ‘show’ 31 singing bowl chakra 4 tone F heart area green 32 overtone chant chakra 4 vowel AA as in ‘yoga’ 33 singing bowl chakra 5 tone G throat, neck blue 34 overtone chant chakra 5 vowel AIII as in ‘fly’ 35 singing bowl chakra 6 tone A brow indigo/purple 36 overtone chant chakra 6 vowel EIII as in ‘may’ 37 singing bowl chakra 7 tone B crown violet or sun white 38 overtone chant chakra 7 vowel III as in ‘see’, or no sound at all, pure silence & mmm sound in the same B tone, 7th chakra So you can also sing the MMM/NNN sound for the upper two chakras, with the resonance in the entire head. After this track there is one minute complete silence. 39 The ‘holy’, wholesome sound AOUM . This sound is sung three times, with a silence in between. The basic tone here is B of the crown chakra. Very far in the background you will hear a choir singing the triad b-minor (‘back to the Source”). This track can be used very well as an intro to a meditation. By singing along the effect will be amplified of course. In the end, the last AOUM will go higher and higher, until it goes beyond hearing. After this track there is one minute complete silence. 40 Harmonizing the Heart. This track has various singing bowls; eventually the basic tone ends in the heart chakra. With overtone chanting and rainsticks, and in the background the soft sounds of the sea. Ideal as foreplay or during lovemaking, or as accompaniment of a meditation about radiating universal love. After this track there is ample silence before the CD stops.? People who would like to know and hear more about the subject will find a treasure of information on the Internet. Try and search the entry Nada Yoga. Other sources: Beautiful pictures of water crystals: www.collectivewisdominitiative.org/vibration2.htm Hado Publishing BV: www.hado.net Academy for Music, Education and Healing: www.ameg.nl Don Campbell, Power of Sound: www.mozarteffect.com Nada Yoga site of Raine Eastman-Gannett: www.socho.com/nadaom.html French site Yoga and Sound: www.yogaduson.fr Russill Paul (Asha), Yoga of Sound: www.russillpaul.com Bio Pro Resonance Technology: www.mybiopro.com/?ID=healthtech Harald Knauss (Triads) www.musik-kinesiologie-online.de READING LIST Loucas van den Berg THE HEALING VOICE A new vision on the essence, use and application of the healing power of vibration in the form of voice, sound and music John Beaulieu MUSIC AND SOUND IN THE HEALING ARTS Sri Brahmananda Sarasvati NADA YOGA Don.G. Campbell THE ROAR OF SILENCE: Healing powers of breath, tone & music Don G. Campbell HEALING YOURSELF WITH YOUR OWN VOICE William David THE HARMONICS OF SOUND, COLOR & VIBRATION Olivia Dewhurst-Maddock THE BOOK OF SOUND THERAPY Deborah van Dyke TRAVELLING THE SACRED SOUND CURRENT: Conscious Evolution Masaru Emoto THE HIDDEN MESSAGE FROM WATER & WATER CRYSTAL ORACLE Jonathan Goldman HEALING SOUNDS, The power of harmonics Christina de Kaste MUSICAL THERAPY WITH SINGING BOWLS (only in Dutch) Laurel Elizabeth Keyes, TONING, the creative power of the voice Harald Knauss KLANGE FuR DIE SEELE (only in German) Joshua Leeds THE POWER OF SOUND, How to manage your personal soundscape (with in the back the most valuable treasure of resources, adresses, guides). Includes a CD. Kurt Leland MUSIC AND THE SOUL, A listener’s guide to achieving transcendental musical experiences Russill Paul THE YOGA OF SOUND Daniel Perret SOUND HEALING & THE FIVE ELEMENTS & MUSIC, THE FEELING WAY (German /French editions:MEDITATIVE HEILMUSIK, LES EFFETS SUBTILS DE LA MUSIQUE) Dick de Ruiter SUN SALUTATION (book & DVD)(only in Dutch) Dick de Ruiter OVERTONES (book & CD) Dick de Ruiter CHAKRA DELIGHT (book & CD) Dick de Ruiter CRYSTALS & SOUND (book & CD) LISTEN ALSO TO Thom Ashley-Farren Healing Mantras Loucas van den Berg ……………………………………………… John Beaulieu Calendula, a suite for Pythagorean Tuning Forks Don G. Campbell Music for the Mozart Effect # 6 – Music for Yoga (e.v.a. titels) Cosmic Moments Sanskrit Chants, Ananda Ashram Diksha Nada Yoga, meditation through sound vibration (http://yogavanimission.org) Deborah van Dyke Travelling the Sacred Sound Current Raine Eastman-Gannett Shabda Yoga (www.socho.com/nadaom.html) Eric Klein The Gayatri Mantra of Spiritual Light (www.dharmaconsulting.com) Joshua Leeds/Archangelos Ensemble The Sound Health Series (www.sound-remedies.com) Mandala Yoga Ashram The Chakras (a.m.o. titles)(www.mandalayoga.et) Russill Paul The Yoga of Sound (3CD) (www.russillpaul.com) John Saxby Memories, Dreams and Incantations John Tavener (composer) Eternity’s Sunrise Patrick Torre Universel OM, le mantra des mantras (www.yogaduson.fr) Roop Verma Experience Nada Yoga (a.m.o. titles) (www.roopverma.com) Andrew Weil Sound Body, Sound Mind, Music for Healing (dbCD+bk)(www.sound-remedies.com) Yoga du Son Harmonie (www.yogaduson.fr) Yogi Hari OM Shanti (www.yogihari.com) DVD/Video Training with Yogi Hari (www.yogihari.com) Workshops Loucas van den Berg offers workshops. His website: www.ameg.nl. Harald Knauss trains people in working wsith sounds; here are two websites where you can find his workshops: www.musik-kinesiologie-online.de and www.mediale-welten.com. THE PROFOUND JOY OF MANIFESTATION Study, read, and walk your way to inspiration. Ankh Hermes 2004 Other titles in this series of Book&CD from Binkey Kok and author Dick de Ruiter: THE UNIQUE SINGING BOWL a divine exception in a world of music ISBN 90-74597-46-7 CHAKRA DELIGHT singing bowls for balancing the energy centers ISBN 90-74597-49-1 THE HEALING TONES OF DIDGERIDOO an invitation to a profound spiritual journey ISBN 90-74597-48-3 HARMONIC OVERTONES magical vibrations in voice and music ISBN 90-74597-58-0 CRYSTAL & SOUND enjoy the subtle effects of rock crystals combined with crystal singing bowls ISBN 90-74597-70-X Binkey Kok Publications – Havelte /The Netherlands www.binkeykok.com e-mail info@binkeykok.com Read more about the chakras in the other Book & CD edition Chakra Delight. See BioPro in the listings at the back of this book. See info about Harald Knauss and Loucas VandenBerg at the back of this book. A lot more about how to handle emotions using sound and voice you will find in the books of Loucas VandenBerg and Joshua Leeds, see reading list. Many more tips on stress you will find in Debra Cohen’s excellent booklet "How to Stay Balanced During Stressful Situations" (e-mail HYPERLINK "mailto:quietmind2000@yahoo.com" quietmind2000@yahoo.com ) Read all about the AOUM in chapter 7! More about this in Dr. John Diamonds book Life Energy (Dodd, Mead &Co., NY) Also according to Eastern medicine there is a direct energetic connection between liver and spleen/pancreas. See www.mozarteffect.com. Only in German: B.M. Leser-Lesario, Lehrbuch der Original-Vokalgebarden-Atmung, Ilse Middendorf, Die Erfahrbare Atem. A meditation of David Gordon, originally from Swami Vishnudevananda. For a complete explanation of harmonic overtones I refer to the Book/CD Harmonic Overtones. An extensive description of a ‘sound bath’ you will find in the book/CD Chakra Delight. For personal wishes concerning combinations and sequences you may consult the author through his e-mail address (see back of this book). All about the Australian rainstick you find in the Book/CD Healing Tones of the Didgeridoo. Read the complete description in chapter 7.