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 healing voice of 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

YOGA & SOUND

Text, recordings, photography Dick de Ruiter
Healing voice 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
2005 Binkey Kok Publications
All rights reserved.

CONTENTS
INTRODUCTION
1 YOUR OWN SOUND BODY a holistic approach
2 SOUNDS & ENERGY the eastern connection
3 NOTES ON ESOTERIC SOUND & YOGA the way to the inner worlds
4 TRIADS triple sounds for healing
5 SOUNDS & BODY applying triads and overtone singing
6 SOUNDS & EMOTIONS ease your mind with singing bowls
7 YOGA, CHAKRAS & 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 Lords 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.
Mevlana Rumi
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.
Shams-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 soundssometimes 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 practiceas 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

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 importantlike with every style of yogais 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 trafficcars, motorbikes, trains, planescreate 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 soundfor some the soundings of the heart chakra. In
chapter 3, 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!

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.1 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: Japanese 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.
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 soundfor instance the one
who touches the singing bowl, or even the whole of an orchestracan make a difference in
effect on the receiver, the listener. We all know this when listening to concerts: a part of a wellknown 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.

See BioPro in the listings at the back of this book.

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.

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. Naturallyby naturewe 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 soundsmostly of the human voice, the mantrasto 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 lightthey 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 Yogaalso
called Sahaj Yogais 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.
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.

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 willeveryone can hear this. From the Eastern tradition
comes the knowledge that a certain pitch has a resonance with one of the bodys 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.2
When we are listening to certain triads and absorb the vibrations, 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
effectsnever 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, because
they are sounds with a harmonic structure 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.
*

Triads are the key of every musical partitur. These chords create the mood, the atmosphere, in
alliance with other elements like rhythm, choice of instruments and other factors. Just try and
listen to the triads of the CD and feel intuitively which mood comes up.
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.

Read more about the chakras in the other Book & CD edition Chakra Delight.

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 pronounceout loud or silently
in your mindwhile listening and assimilating the sounds. More instructions about listening you
will find in chapter 5.
TRIADS IN MAJOR KEY the way from the inside looking out (expression)
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-red3-yellow5-blue
I am relaxed and in balance. My head is clear. Works on obtaining clarity and problem-solving
abilities. 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-blue7-violet2-orange
I allow myself to be; I breathe deeply in and out. Influences your creativity, refines dreams and
fantasies; fosters realization of own inspiration, invigorating expression of your feelings. Favors
the functions of the brain stem, the taste buds, the sleep center, and the organ of equilibrium.
Regulates the blood pressure. Eases inflammation of the bronchial tubes. This triad is often
being used in classical music as the entry- or ending-chord, like a kind of statement: this is me!
3
D-major
triad: D-F.sharp-A 2-orange4-green6-indigo
I allow myself ample space in every aspect of my life. Gives much clarity in consciousness of
your inner self and feelings; promotes a feeling of strength, of being on top of things; deepens
the breath. Fortifies the nervous system, especially the nerves of the cerebrospinal (brain and
spinal fluid); integrates the brain hemispheres. Affects the speech center, throat, vocal cords,
the inner ear, and the hearing canal.
4
A-major
triad: A-C.sharp-E 6-indigo1-red3-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, (writers) block, vegetating. Aids in
cases of gastric ulcers and a weak (vegetative) nervous system. Stimulates digestion and
lactation. Harmonizes the lymph system.
5
E-major
triad: E-G.sharp-B 3-yellow5-blue7-violet
Balance. I see the Light. Clarifying the balance of earthly/bodily and spiritual matters, this triad is
excellent for dreamers who need to get their feet on the ground. Shines a light in the darkness of
a negativity spiral. Benevolently influences the blood circulation and the blood itself, all heart
conditions, problems of the spine and the nerve fibers. An especially useful triad for spiritual
teachers.
6
B-major
triad: B-D.sharp-F.sharp 7-violet2-orange4-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 ones inspiration (artists!). Inner satisfaction.
Aids healing power, digestion of food (duodenum, liver, pancreas, spleen). Works on the
sympathetic nervous system (compare A-major).
7
F sharp-major
triad: F.sharp-A.sharp-C.sharp 4-green6-indigo1-red
Inner unity with the whole world and everyone in it. I see the connections and cohesions.
Invigoratites people who go the extra mile in serving others or working for some good cause,
and who need a lot of energy to do that (emergency medical technicians, doctors and nurses in

triage, rescue workers). Harmonizes the functioning of the kidneys and the excretory system.
The sound also activates the coherence of the hormonal system and the brains control thereof,
especially of the lower part of the body, so it works well on menstrual complaints. Works also in
a positive way on the blood vessels in the skin and certain skin diseases as kidney health
affects that of the skin.
8
F-major
triad: F-A-C 4-green6-indigo1-red (compare F.sharp-major)
I am I, you are you, and together we are one, here on our earth. Reinforcement of positive selfconsciousness in relation to the outside world. Clear perception. Development of the sense of
touch. Fosters mobility consciousness in the world around you (yoga, tai chi, dancing). Has a
grounding effect for highly-sensitive people; prevents them from going into the clouds. Also
effective for edema (water retention) and unbalanced metabolism.
9
B flat-major triad: B.flat-D-F 7-violet2-orange4-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 (dilates) the blood vessels.
Supportive of muscle coordination.
10
E flat-major triad: E.flat-G-B.flat 3-yellow5-blue7-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 and expressions thereof to others (mediums, teachers) are supported. Works on the
solidity of the body (bone structure), harmonizes skin functions, activates nerve centers in the
knees.
11
A flat-major triad: A.flat-C-E.flat 6-indigo1-red3-yellow (compare A-major)
I am attuning myself, and I know my limits. I am coming home in myself. Outer and inner worlds
are increasingly synchronized (an aid in cases of bipolar disorders, excessive fantasizing, drug
abuse). Works benevolently on the control and coordination of the muscles (tension/relaxation),
the ischial nerve, and disequilibrium. Eases the distress of hip gout and rheumatism.
12
D flat -major triad: D.flat-F-A.flat 2-orange4-green6-indigo (compare D-major)
I am able to really let go and have it my way. Soothes aggression and anger, without
suppressing them. Awakens you to your values. Eases essential decision-making and cutting
through bound-up energy. In the body, this triad affects the excretion and elimination of polluting
substances. A tonic for the abdomen, bladder, and large intestine. Helpful during stress, after
shock, and in allaying deep fears.
TRIADS IN MINOR from the outside looking in (insight)
This series of triads in minor keys is all about processing within what you have learned and
created in the world around you.
Many people consider minor chords as negative. It does not have to be like that at all, on the
contrary. Sometimes they sound a little melancholy, but they can help in your awaking process
of discovering who you are, in learning to trust your intuition and the way you need to go. The
third tone of each minor-key is the keynote.
13
a-minor
triad: a-c-e 3-yellow1-red6-indigo
I open myself for new developments. You are realizing your own view at life; the triad also
contributes to other inner processing. The chord resonates with the longing for the unknown,
spiritual aspirations. Provides good ambience during meditations.
14
e-minor
triad: e-g-b 7-violet5-blue3-yelllow
I love myself, the world and everyone in it. Reinforces positive outlook and feelings while
reducing agitation. Soothing for the depression or feeling stuck or hopeless. Comforting and
compassion-instilling. These sounds are for people who care about the world and their
fellowhumans.
15
b-minor
triad: b-d-f.sharp
4-green2 orange7-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
f sharp-minor
triad: f.sharp-a-c.sharp 1-red6-indigo4-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 in which you can anchor yourself. By this anchoring you can set an
example, write books, bring ideas into the world, and eventually arrive at loving self-realization.
17
c sharp-minor
triad: c.sharp-e-g.sharp 5-blue3-yellow1-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 and contact with the
spiritual. Enhances intuitive knowledge.
18
g sharp-minor
triad: g.sharp-b-d.sharp 2-orange7-violet5-blue
Comfort. Smile. Homecoming. Listening to this chord can lift you for an instant above trivial
concerns. Suitable for meditation, spoken meditations, and prayers. A very beautiful triad for
those who want to listen to their inner voice!
19
d-minor
triad: d-f-a 6-indigo4-green2-orange
I am able to change. It is safe. In love I open myself like a flower. This triad will help in times of
change and change-over, to go to work what is right and needs to be done, yet, in doing so, not
becoming too forceful or imprudent. Aids in actively and consciously influencing your fate and
getting a clear picture of karmic patterns.
20
g-minor
triad: g-b.flat-d 2-orange7-violet5-blue (compare gis-minor)
I know now what I really want. Inspiration can also be embodied with this triad, which is
essential for orators, poets, and singers need this one. Strengthens trust in inner abilities and
ways of personal expression. You can see clearly now what lies ahead.
21
c-minor
triad: c-e.sharp-g 5-blue3-yellow1-red (compare cis-minor)
I experience and accept Divine guidance. Encourages you to accept what is, and to be at the
helm. Fosters solid incarnationbeing in a body, being grounded. The sound is benevolent for
those who are taking on new challenges.
22
f-minor
triad: f-c.sharp-b 1-rood6-indigo4-groen (compare fis-minor)
I have love, faith and confidence. Over-view. The sound has a relaxing effect on emotions like
anger and resentment, so you may more easily 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 flat-minor
triad: b.flat-d.flat-f 4-green2 orange7-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
d sharp-minor
triad: d sharp-f sharp-a sharp 6-indigo4-green2-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 gland. Detaches
from earthly bonding.

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 (tracks 25-38) 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 bestplease 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 timewhich
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 CDplayer 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 listenlistening 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.3
You can read more details about practical application of the sounds in the next chapters and the
CD manual.

See info about Harald Knauss and Loucas VandenBerg at the back of this book.

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
everydays 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!4
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 4.
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
4

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.

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 close the openings of the nostrils alternately with
the tip of your thumb. There are other ways to do this, but this is the most simple and in my
experience the most effective one.
Now breathe in through the right nostril, by closing the left. Breathe slowlyyou 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 breathe in again through the same left nostril. Close
and breathe out through right. Pause, breathe 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.5
* 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 appliesyou 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.

Many more tips on stress you will find in Debra Cohens excellent booklet "How to Stay Balanced During
Stressful Situations" (e-mail quietmind2000@yahoo.com)

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.
UU (as in foot)
OO (as in show)
AA (as in yoga)
EE (as in way)
II (as in sea)
MM
EEM-NN-EH
AAH-MMAAH
OH-MMAE
HUUMUUMM

grounding, solidifying, more present in the body, calming, feeling of

security.
awakening, better self image and feeling of identity, individuality, belly
feeling.
reaching out to the world outside, feelings from the heart, feeling of
making more room, space.
being able to express yourself, communication, also listening to others.
energy, rousing from lethargy, mental and physical stamina.
more balance and harmony, more head-room (literally), very easing.
head, throat, neck and shoulders relax, you can express yourself better.
opens up the heart, gives room to expression of feelings & emotions.
centering, connecting head with feet and eases ways of expression.
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 sickespecially in hospitals. I do this first thing every morning when I wake up. A very good
start of your day!
Youd 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 25 and/or 26 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 supplythere 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 AOUM6 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 silentwithout 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 & LIVER7
Finally an exercise for exciting vitality and optimismalways a good one to do! You may want to
listen to tracks 31 and/or 32 of the CD (only singing bowls, or sing along with the vocals).
6
7

Read all about the AOUM in chapter 7!

Inspired by a visualization of VandenBerg Healing Voice.

The thymus is part of the hormone system; this gland produces hormones for the bodys
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.8 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.9
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, selfcontrol, concentration, all those skills which form a base for nonverbal and verbal
communication, and for the learning process.10

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.
10
See www.mozarteffect.com.
9

YOGA, CHAKRAS & SOUND

through sound to the ultimate silence within

In the first half of the last century, the scientist and Viennese singer Dr. Benno Max LeserLasario 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 betterof course by using the right harmonics. His method was
further evaluated and developed by Ilse Middendorf, who wrote a book The Experiential
Breath.11
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.
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 Illallah 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 6 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

11

Only in German: B.M. Leser-Lesario, Lehrbuch der Original-Vokalgebrden-Atmung, Ilse Middendorf,

Die Erfahrbare Atem.

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 Avowel 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: HARMONY12
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.

12

Inspired by a visualization of VandenBerg Healing Voice.

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 breathone 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!
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.

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
releasedthe 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 booka 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 leveljust 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.
Track 25/26 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 27/28 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 29/30 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 31/32 Fourth chakra:
Matsyasana fish (different variants)
Dhanurasana bow
Chest expander
Ardha Matsyendrasana spinal twist
Tracks 33/34 Fifth chakra:
Hoofddraai
Simhasana lion (putting out tongue)
Viparita Karani half shoulderstand
Sarwangasana complete shoulderstand
Halasana - plow
Matsyasana fish
Tracks 35/36 Sixth chakra:
Nadis suddhi (Anuloma Viloma) alternate breathing
Kapalabathi breathing exercise for a clear head
Tracks 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 described in the next
section, and in the special Book & CD edition Sounds Like AOUM (Spring 2006).
*

AOUM
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 (track 39).
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.
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 AOUMwhich may be integrated in one of the active voices
described belowis 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.13
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
13

A meditation of David Gordon, originally from Swami Vishnudevananda.

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 6
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.14
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
resonatethe 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 35/36; also try track 13 and/or 24.
14

For a complete explanation of harmonic overtones I refer to the Book/CD Harmonic Overtones.

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 (this is known as 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 exhalation. After a long time of practice, youll reach the stage
when the mantra will repeat itself, as it wereor could we say here repeated by the
Self?without you any effort on your part.
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 vocalized 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 describeyou just have to experience it yourself.
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 3, 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 longdrawn-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
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 breathlet it go all the way deep down your bellyyou 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 you seamlessly transform the sound 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. Visualize 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 upon your chest and breathe quietly, while a smile enlightens your face.
You may repeat this sound movement a few times, always with 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:
1. Sit on your heels, with a bolster or pillow in between your heels and bottom, if needed, knees
a little apart for balance. Again, you may begin with a few deep breathings to concentrate.

2. 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.
3. The A transforms into the O and the U, and meanwhile your arms move sidewards and back,
alongside the body, while your head comes closer to the floor in front of your knees.
4. During the long MMM, your head lies heavily on the floor, or on a prop if you cannot touch the
floor, and your arms and shoulders lie relaxed and heavy. While kneeling, you are supposed to
keep your bottom on, or as near as possible to, your heels!
5. Breathe a few times quietly in this relaxed pose, then return slowly and with a rounded back
to the upright position. Ideally, you repeat the sound movement 3 to 5 times.
This is a pose of surrender, of letting go. Its a perfect exercise before going to sleep, as a kind
of closure of your day.
Then, finally, there is also the practice of singing AOUM in a group. Humming the MMM sound
can be 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 AOUM in a group is increasingly being done by therapists, at the beginning of therapy
sessions and group meditations. It can give a beautiful transition to the sessions, and can help
direct 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.15
Read before you start listening first the directions in this book thoroughly; especially those in
chapters 4 and 5. 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 fisminor. 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.16 As described in
chapter 5 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
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
15

triad C-major
triad G- major
triad D- major
triad A- major
triad E- major
triad B- major
triad F sharp- major
triad F- major
triad B flat- major
triad E flat- major
triad A flat- major
triad D flat- major
triad a-minor
triad e- minor
triad b- minor
triad f sharp- minor
triad c sharp- minor
triad g sharp minor
triad d- minor
triad g- minor
triad c- minor
triad f- minor
triad b flat- minor

C-E-G
triad sounds last about 1 minutes
G-B-D
D-F sharp-A
A-C sharp-E
E-G sharp-B
B-D sharp-F sharp
F sharp-A sharp-C sharp
F-A-C
B flat-D-F
E flat-G-B flat
A flat-C-E flat
D flat-F-A flat
a-c-e
e-g-b
b-d-f sharp
f sharp-a-c sharp
c sharp-e-g sharp
g sharp-b-d sharp
d-f-a
g-b-d
c-e flat-g
f-a flat-c
b flat-d flat-f

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).

16

24

triad d sharp-minor

d sharp-f sharp-a sharp

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.17 These rainstick sounds have with the lower chakras a center-towide effectcreating spacewhile 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. Per chakra lasts about three minutes, including silence.
25
singing bowl chakra 1
tone C pelvis, bottom red
26
overtone chant chakra 1
vowel UH as in ugh but with lips pursed
27
singing bowl chakra 2
tone D lower belly orange
28
overtone chant chakra 2
vowel OO as in foot
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 the mmm-sound, or no sound
at all, pure silence. On the CD you hear only the 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 AOUM18. This sound is sung three times19, 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. As an expression of, or as accompaniment to a meditation about radiating
universal love.
Used sounds:
Sounds of the sea: digitally recorded by Dick de Ruiter, Dec.12th 2004, 05:30 hrs, Mediterranean Sea,
Cap d'Agde, Southern France
17

All about the Australian rainstick you find in the Book/CD Healing Tones of the Didgeridoo.
Read the complete description in chapter 7.
19
This track is sung by the author.
18

Dolphins: recording by Dick de Ruiter, August 21th 1979, West Coast Northern England
Heavenly choir: experimental recording with friends by Dick de Ruiter, August 24th 1979, Salisbury chapel

The best next recordings you might want to explore with the triads and chakra tones are the
extraordinary recordings from Jonathan Goldman: The lost chord, Chakra chants and Healing
Chants.

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
Informative site Jonathan Goldman: www.healingsounds.com
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 KLNGE FR 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 listeners guide to achieving transcendental musical
experiences
Russill Paul THE YOGA OF SOUND
Daniel Perret SOUND HEALING & THE FIVE ELEMENTS & MUSIC, THE FEELING WAY
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 Dance floor of Gold. Inspired by The Divine Comedy of Dante and a
poem by Hafiz
Loucas van den Berg The Healing Voice. Contemplations with voice and sound
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)
Jonathan Goldman The Lost Chord, Chakra Chants, The Divine Name, The Harmonizer,
Celestial Yoga, Ultimate Om (www.healingsounds.com)

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) Eternitys 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.soundremedies.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 about the healing voice. His website: www.ameg.nl.
Harald Knauss trains people in working with sounds; these are two websites where you can find
his workshops: www.musik-kinesiologie-online.de and www.mediale-welten.com.

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
SOUNDS LIKE OM
universal primeval mantra
ISBN 90-78302-04-6

Binkey Kok Publications Havelte /The Netherlands

www.binkeykok.com
e-mail info@binkeykok.com
Dick de Ruiter, MAISON DES MIRACLES, South of France
www.maisondesmiracles.nl
e-mail: houseofmiracles@wanadoo.fr