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Krishnamacharya’s early Ashtanga Vinyasa Krama

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NOTE: Blog address now begins grimmly1997. I've unpublished 80% of posts but retained, on request, the Krishnamacharya 'Research' posts.
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Home Yama and Niyama: Krishnamacharya, Jois, Ramaswami Asana Lists Inc. Original 1974 Ashtanga Syllabus

Krishnamacharya resource page Slow Ashtanga PLUS Yoga Makaranda Part I and II Yoga Reading List

How to practice Krishnamacharya's Early Ashtanga Yoga Krishnamacharya's Yogasanagalu (1941) (translation project)

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Thursday, 5 February 2015 IMPORTANT NOTE

Avoid following any link to the

Kumbhaka studies: Breath holding and heightened arousal - Flute and original blog address as it has
shakuhachi and Bansuri inc. Japanese concept of ma, the space between been ‘hacked’. Change the
‘2007’ in any link to ‘1997’. So
the notes grimmly2007.blogspot.com
becomes
Inhaling while playing and passages of breath holding during a piece grimmly1997.blogspot.com

cause a racing heart, an increase in blood pressure and a physical

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sense of emergency. Usually, such sensations are indicative of an

increase in adrenalin and/or performance anxiety. These physical

symptoms for a flutist performing Heinz Holliger’s (t)air(e) should not be 5,587,418
avoided, however. Learning a piece where silence and extreme self-
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control are written for dramatic effect allows a performer to experience
► 
2021
(3)
heightened physical arousal during performance in the context of
► 
2019
(4)
achieving an artistic goal. The symptoms therefore lose their more ► 
2018
(1)
common negative associations. This can then be used as a pedagogical ► 
2017
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tool in building a comfort level with increases in heart rate, and ► 
2016
(17)
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2015
(23)
breathlessness while performing.

Breath holding and heightened arousal: Composing anxiety or intensity? Jennifer A. Borkowski

► 
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(2)
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*
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Three part post : First, Breath holding techniques for flute including video performance of (t)air(e) by Holliger. Second, Shakuhachi
間
and  (ma), the space between the notes. Third, Bansuri and the breath. But first Ganesha and Krishna.

► 
March
(5)
▼ 
February
(7)
This post more about the breath in general, skilful breathing, than kumbhaka in particular.  What was interesting for me in this article Krishnamachary
below was how causes of stress and anxiety for a flute player in a performance became exaggerated in a score and thus addressed, a's own asana
overcome.
and
pranayama
practice...
Krishnamachary
a seems to
have
practiced
along with...
Krishnamachary
a practicing at
84
Encountering T.
Krishnamacha
rya
INVERSIONS:
Krishnamacha
rya's head
and
shouldersta...
Kumbhaka
studies:

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07/11/2022, 16:34 Krishnamacharya’s early Ashtanga Vinyasa Krama Yoga...at home : Kumbhaka studies: Breath holding and heightened arousal - Flute and …
Breath holding
and
heightened
ar...
1970s Article
titled 'About
Sri T
Krishnamacha
rya,...

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Shakuhachi and ma (
ArkieYogini
After the Sengoku period (1467-1568), samurai who had lost their masters became wandering Buddhist monks called komuso “monks Blog Post Title
of emptiness”. These komuso formed the Fuke sect of Zen Buddhism and composed the honkyoku (original pieces) to play on the
shakuhachi as a form of meditation. The shakuhachi was not considered to be a musical instrument at that time but rather a hoki, an The Fityoga Movement
instrument of spiritual practice. The honkyoku of the komuso expressed their true feelings, from the heart, as they wandered over the What does it mean to be a
countryside begging for alms and wishing to be delivered from earthly desires. They were in search of the elusive ichion jobutsu – “one Yogi? – Project
sound become Buddha”. The honkyoku contains elements of the komuso’s samurai training in Bujutsu (military arts) and Zen
Buddhism. In Bujutsu, the distance between the two blades decides which one will survive. In Zen Buddhism, reality lies in the distance YogaDork
between man and nature. In honkyoku, good expression is achieved by finding the right distance or ma (space) between two notes and Doggie Not Down With
two phrases. How deeply the shakuhachi player considers the meaning of ma, decides the quality of his or her performance. Human Doing Yoga

The difficulty in realising good ma is that honkyoku have free rhythm and no beat. This poses a difficulty for many Western trained Yoga with me
musicians (myself included), who rely on a clearly defined rhythm and beat to give a basic flow to the piece. When learning honkyoku, Шарат Джойс об
the student must first copy the teacher to get a feeling for suitable ma. The student must then find his or her own expression for the очищении от шести ядов
piece, which in Yokoyama Sensei’s words is a desperate matter taking on life or death dimensions, where the soul of the player is laid
bare for all to see! I was encouraged to play as if these were the last notes that I would ever play. Or to play for someone as if these BIMS WINTER PT
were the last notes that they would ever hear. Straight from the heart and directly in the moment. Intellectualising My
Experience
The notation for honkyoku functions in a similar way to tablature. Each Japanese character denotes a different fingering, while the
vertical lines indicate approximately how long to hold the note and frequently, how to shape the sound. Read down the columns, from Ashtangi Angel
right to left, the notation is used primarily as a memory aid, with embellishments and nuances learnt orally from a teacher. The Recovery after pregnancy
honkyoku phrasing is directly related to the breathing of the performer i.e. the length of the phrase is determined by the inhalation just and C-Section
as much as the inhalation is determined by the length of the phrase. Austere melodic lines and subtle changes in timbre characterise
the honkyoku, which are played in the pentatonic scale named In (D, Eb, G, A/Ab, C or D, Eb, G, A, B), the equivalent of the minor Yoga with HD
scale in Western music. The honkyoku is practised as religious music. It does not aim at melodic variation or development, as Western
music does. It exists as an exercise in mindfulness,inviting the performer to be fully present in each unfolding moment, each tone, each journeys
breath. The honkyoku have been transmitted from teacher to student without gap, through various schools, from the time of the Back to Mysore class
master-less samurai to the present day. 
from http://bronwynkirkpatrick.com/?page_id=7
patrick nolan yoga
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More on Shakuhachi and ma ( 間) new york yogini
back to the shala, hand
numbness, relief, teaching
"In one moment of silence, become the Buddha!’’ By Philip Horan
YogaRose.net
The role of silence is an essential part of Japanese sound aesthetics. This is conceptualised in the concept of time and space called #FOMO #FOM #FO #F —
間
ma ( ). This concept can represent moments of silence in music or empty space in ritual and performance contexts. A post about fear,
ashtanga and (attempts
at) pregnancy
The old pond, ah!
A frog jumps in: Lock the Knee!
The water’s sound! Go Back and Look Again

This famous haiku of Bashô (1643-94) epitomises the Japanese conception of sound and silence. In these few words we have the royogini
visual image of an old pond, the random action of a frog and the sound of water which shatters the silence. The Japanese sensibility the joys of teaching!
appreciates the visual, kinesthetic and sound phenomena as one aesthetic whole. In Zen, there is non-duality and the ever-evolving
nature of seemingly opposite concepts like sound and silence. In the words of Hisamatsu: “A master lives in emptiness while working ashtanga4life
in form.” (Hisamatsu 1823) all is coming

The space and silence between one-breath tones represents the ma in honkyoku. It has even been suggested that the moments of Back to Mysore | After
silence are more important than the moments of sound. This can be seen in other arts; e.g. in the monochrome ink-drawn paintings of ten years…
sumi-e where the positioning of the blank white spaces are crucial. I will refer to the moments of ma as ‘breath silences’. It is not Week 4: settled
measurable but a felt experience.
citymouse
The following are some suggestions about how to cultivate your sense of ma. This is based on my own individual journey. Getting to I have moved!
the essence of a honkyoku often depends on how well you have mastered the breath silences.
Ashtanga and Angels
First, try out these different types of breath silences: Cooking up a Storm in
Mysore
Just leave enough space to snatch a breath.
Take all the time in the world. Journey to Mysore
Try a mixture of both of the above in a honkyoku. Heading back; new site

Listen to the sound your breathing makes in the breath silences. Is it noisy or quiet? Variety is the spice of life! The different types of in-
SHANTI STAR
breath can add colour to your breath silences. What are you thinking of during each breath silence? This is a trick question as your To Surf or Not to Surf -
mind should be empty! Japan Pacific Ocean

The next step is to move beyond just having enough air to finish the breath tone. This means plenty of different types of ro-buki to
Rani's Rantings
extend your breathing and control. Some of the most effective breath silences are when no breath is inhaled. You have taken in
enough air for two short one-breath tones and pause only for effect and the expectation of an inhalation. Try holding your breath for a
New Memories
moment after inhaling and start at an unpredictable moment. At the end of a one-breath tone enjoy blowing out the remaining air
ASHTANGA YOGA
before a sudden inhalation and start to the next part. The possibilities are endless.
DUBAI THE MOVIE

How you finish a one-breath tone and start the next are crucial to how you shape your breath silence. Do you end with a meri, suri-agi
beckymayhem
or ori? Does the next breath tone come from nothingness or does it burst into existence? A tone can fade away so the boundaries of
Back on the mat with
where the breath tone ends and where the breath silence begins is ambiguous.
Hamish Hendry

This is only the beginning of a long journey. Aim to start and finish every breath tone differently and make every breath silence unique.
The length and volume of the one-breath tones will vary as will the breath silences. You will discover revelations in the honkyoku that Priya's Travel Blog
Chapter 32: Conference
you will reject on a future playing. Enjoy the whistles or air sounds that happen on purpose or by accident. Play with the confused
Catch Up, 3/23/14, Final
fingering, break in octave or confused tuning so they are part of the performance! Once you think you have found enlightenment, you
Conference
will soon realise that there are more challenges to be overcome. Be like Basho’s frog: jump into the unknown and make a big splash!
from http://www.shakuhachizen.com/ma.html
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07/11/2022, 16:34 Krishnamacharya’s early Ashtanga Vinyasa Krama Yoga...at home : Kumbhaka studies: Breath holding and heightened arousal - Flute and …
difference between yogic breathing and that of a wind player is that in yoga, breathing Practice, practice,
involves bath the nose and mouth and the underlying principle is of regular breathing in practice...
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and out. The flute player can only breathe through the mouth, and the rhythm is entirely
dictated by musical necessities. However, one great advantage that Indian music has over Musings from the Yoga
Mat
western classical music is that it is not fixed, and the musician can adopt musical phrases Celebration
and sequences to suit his/her own capacity".

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2. BREATHING AND BLOWING
This constitutes the very heart and soul of bansuri playing. Through good blowing and breath control all the essential qualities of the
Ayurvéda és jóga
instrument manifest; tonal quality, intonation, dynamics, rasa and bhava (the sentiment and emotional atmosphere of the raag) .
Tavaszi méregtelenítés -
Powerful blowing and stamina are must be developed. From a position of strength and power all the essential elements of bansuri
ha nem szereted a
playing can be expressed. The bansuri is, after all, only a simple length of bamboo with seven or eight holes, but through the power of drasztikus kúrákat
breath it can be bought to life, coerced by the intention and will of the player to express all essential qualities. Poor and weak blowing
will, only produce a thin, dry one-dimensional sound, unable to project the essentials of the music. Blowing and embouchure need
Queen of the East
priority attention, as flutes by their nature do not have the tonal contrasts and range of expression of other wind instruments.
Village
Points to consider... 11-year-old boy, Bailey
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1) Exploiting full lung capacity. It is easy to fall into the habit of breathing only from the top of the lungs. Diaphragm breathing is Bullied
essential in order to exploit the maximum capacity of the lungs, and also to control the dynamics of playing. Loud, soft, crescendo,
diminuendo, the shaping and moulding of musical phrases are expressed and controlled by the movement of the diaphragm.
Vinyasa Krama Yoga
Practice Blog
2) Posture. The basic position for the Indian musician is to sit cross legged, and yet this not an ideal position for wind instrument Srivatsa Ramaswami's
players. In most other traditions, wind instrument players either sit in a chair or stand, which greatly facilitates the breathing process. 1980's Yoga TV spot
But for cultural and practical reasons the bansuri player always sits in cross-legged position during performance, but at other times it
does not have to be this way. It is advisable to develop a flexible practice routine, sometimes practlse in the traditional position, other Always a student
times sitting or standing. When sitting cross-legged, posture can be aided considerably by sitting on a cushion of about 6 cm in height, Partner Yoga
placed under the buttocks so that the knees reach down to the floor and the back then straightens, allowing the diaphragm to function
more efficiently. Another way of sitting on the fleer is to kneel, sitting back on the heel (the position used by Japanese shakuhachi
I want to be an
players), then during very long playing sessions to alternate between the two positions. Astronomer
Star Party - Astronomy
3) The development of stamina is essential. In all other traditions of flute playing, such as western classical music or jazz, there always away from the city.
times when the flute player can rest while other instruments play; even in carnatic music the flute player is usually accompanied by a
violinist, so that he has moments to rest and recover his breath. In the hindustani tradition, the bansuri player is expected play Leaving Stress Behind
seamlessly for long periods, of an hour or more. This is only possible when a perfect balance of intake and expenditure of energy and directions, not destinations
breath is established, Much practice of stamina building must be done. One test is to repeat a sequence, which could be , for instance,
the first line of a composition followed by a tana and then returning to the line, and repeating the same without a break for up to 20
MySpace.OM
times, taking breath at the same places, and then observing any deterioration in the quality if one’s playing, increasing breathlessness,
etc. If so, this will indicate that the breathing rhythm is not in balance, and more attention will need to be given to where one breathes,
Southern Yogini
and how much is needed to keep the lungs full. In general, one should never continue playing until the lungs are nearly empty. oxygen
deprivation will affect both physical and mental processes.
Irish Ashtangi
4) A general rule for all wind players of any instrument or tradition is to play long notes. Absolute steadiness, without vibrato is
essential. Both low and high notes should be played, both straight and also with crescendo and diminuendo. The latter is particularly Mangotree
important, as in Indian music, notes rarely step suddenly, but tend to fade out and disappear into the background drone or tanpura.
donutszenmom.com
5) Students frequently ask whether yoga breathing exercises are useful, to improve a players breath control, the answer being, not in
any evident way. The fundamental difference between yogic breathing and that of a wind player is that in yoga, breathing involves bath Boodiba's Exercise and
the nose and mouth and the underlying principle is of regular breathing in and out. The flute player can only breathe through the Henry Blog
mouth, and the rhythm is entirely dictated by musical necessities. However, one great advantage that Indian music has over western
classical music is that it is not fixed, and the musician can adopt musical phrases and sequences to suit his/her own capacity. For a Suzy's Mysore blog
teacher writing tanas for students, it is always possible to tailor musical materials with breathing gaps, according to whether the student
is a child. or adult. Upward frog

6) The natural characteristic of the bansuri and all flutes is for the higher notes to have more volume and power and the lower notes to
Queen of the East
be softer and quieter, and yet the characteristic of the bansuri is to exhibit the greatest beauty and expressiveness when the player can Village
achieve the opposite; to play strong powerful notes in the base, and soft ,delicate notes in the highest register.

Lens Cap Refractions

from http://bansuriuk.blogspot.jp/2008/03/2-breathing-and-blowing.html

Carolina Daza - 'The

Global Yogini'
Appendix
see also
Ashtanga Yoga ki Jai!
with David Garrigues

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07/11/2022, 16:34 Krishnamacharya’s early Ashtanga Vinyasa Krama Yoga...at home : Kumbhaka studies: Breath holding and heightened arousal - Flute and …
Long List of Graded Repertoire with Extended Techniques for unaccompanied Flute, Piccolo, Alto Ashtanga in Prague
and Bass Flute
Desperate Monkey
Yoga

Blog de Yoga, de Oscar

Montero, Yoga en Leon

Miss Stan

Mindstuff

Mysore 2014: Yoga with

a little bit of humeric

SBP Blog

shanti fayetteville

Ashtanga Academic

Florence Yoga - Blog

Me And My Yoga

Kumbhaka in Asana practice

inspired by kumbhaka instruction in Krishnamacharya's 1938 Yoga Makaranda

Morning Vinyasa Krama Tadasana sequence

Yoga Makaranda Sury stages with drum

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07/11/2022, 16:34 Krishnamacharya’s early Ashtanga Vinyasa Krama Yoga...at home : Kumbhaka studies: Breath holding and heightened arousal - Flute and …

HD Version Krishnamacharya practice, Vinyasa Krama and '…

'…

Krishnamacharya's life saving Yoga practi…

practi…

at
18:25

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