August 2002

Ethnic Instrumental Page

Sound BOWLS

 

 

Take the wooden stick and hit the rims of the big copper bowl and the smaller one softly.

If you evenly rub the rim of the sound bowls with your wet finger, you produce the diffuse sound of the bowls. Listen to the dynamic resonance of the rounding sound.

Normally, you shouldn't add other pitches from other instruments. These sounds reache your inner condition. Depending to your own affinity or physiological experience, you will like or dislike the typical bell sounds.

Do you know that: the high sounding bowl affects the higher areas of the body and produces for instance visions of bright light and clarity, while the low sound bowl is associated with the lower part of the body.

 

The SINGING bowls are traditionally struck to produce a complex and beautiful sound aiding meditation, or are filled with water, rice or flowers as offerings to the deities. When circled with a playing stick, singing bowls >hum< in a voice full of wonderful harmonics and overtones. They are made from a mixture of 5-7 metals, hand-turned on a lathe, then hammered to the desired hardness and pitch. Legend has it that as the bowl is made, mantras (prayers) are recited and absorbed into the metals, to be released when the bowl is played.

 

Singing Bowls Book: A practical Handbook of Instruction and Use by Eva Rudy Jansen. The origin and history of singing bowls, how they work, how to use them, therapeutic uses, along with a chapter about tingsha and bell and dorje.

Audio: Click here and listen to a small and wonderfull excerpt of singing bowls (with the gong on the background): normally, the listener's whole body gets a sound medical massage. Of course, this excerpt is too small for healing purposes : see Track 18 titled 'Prana' (For Your Living Energy Sounds for Healing 2, by Rainer Tillmann) that belongs to the compilation CD "Ancient Treasure. The Best of Singing Bowl Healing Sounds" © 2001 Binkey Kok Publications . For distribution: click on the email address: binkey@inn.nl .

 

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