Workshop: Vibez Sounds – A Guide

Sonic Sounds Of Crystal
Playing crystal bowls in a sound session, we can create soundscapes which both relax and invigorate. By playing a combination of sound bowls that harmonise, we release tension. Playing combinations of sounds that seek confirmation and resolution - ie. they are returning us to the root sound of safety, helps to calm the nervous system.

Playing notes that leave us wanting a return to the root, we can create some tension and we can also create higher states of contemplation. These combinations can be played with in a sound bath to bring a 'play' of sound in three parts. The idea behind composition using the technique of three, lies at the foundation of good storytelling - told in three 'acts'

Here are some combinations of three bowls that work really well together:

1. Root, Sacral, Throat - Note: C, D, G
The principal note C helps to bring us back to a grounding tone.
Playing the C tone at the beginning of a sound bath, can immediately ease everyone into a secured sense of stability and safety. It's a great way to start a sound bath when the person of group is 'jittery'. First we need to capture the jittery minds with resonant sounds.

Begin the sound bath with some words around finding sanctuary, solace and safety. The inner cave. Bring the mind to rest by lowering the gaze, then bringing our eyes into a semi-closed state, notice where we now take the vision inwards to the centre of the mind. Observe the low light within and bringing focus on the light source, visualise a bright platinum ball of energy emerging in front of you at the centre, lighting up the walls of the inside of your head, Follow this energy light through a channel at the back of the head, near the base and tunnelling down the spine. 

Playing a high C7# Earth Chime to start this process and asking everyone to follow the sound of this chime as it fades away, and as the energy ball of light moves down, into the inner caverns, passing through the darkness you emerge into a warm and dimly lit red safe haven. Allow the senses to mute out the sounds around us but focus now on the low hum – a grounding sound of safety. Softly play the large C3 bowl. This process should bring all in their busy heads, down bast the lower energy centres where they can feel safe. Expect to hear some snores as those most suggestible will already be in a deeper Alpha or even the Theta mind state. 

2. Sacral, Solar Plexus, Third Eye: Note: D, E, A
The combination of playing a principal D note at the root with a major second and major fifth note gives us a progression starting from the 'tonic' or principal note moving a whole tone into the super tonic. This creates momentum from a grounding space and jumps to an interval called a fourth. Returning from the A back to the D creates a perfect fifth. Playing with these intervals in ascending and descending harmonies and overlaps of sound we can create momentum and completion. 

One extra addition to this three bowl combination is the F bowl. Adding the F to this sequence, brings a little sadness to the harmonies as F features in the Scale of D as a 'minor third. Sometimes, this addition is helpful played in the early part of the second act as a way to lead us towards a positive resolution returning the A back to the D, which is the perfect Cadence of closure.

3. Solar Plexus, Heart, Root- Note: C, E, F
Playing the C as root with a major third and back to C, we get a real sense of ease. Adding the F to the E, we can get an overlap with this 'semitone' creating a sense of uncertainty. Returning the F back to the C adds something called the 'cycle of fifths' and is another calming harmonic. This combination is both an energising and tentative combination. When we have two F bowls that are a few 'pips' or 'cents' out, we can create some tension with energy and bringing us back to the principle helps those who are holding on to anxiety, to release any tension. It's not. pleasant sound but used within the three acts of a session, we can bring an end to the climax of a second act, where in storytelling, the antagonist is confronted. The third act pushes us to find resolution and the F returning to C helps to stabilise and ground us back to safety.

4. Heart, Throat, Root- Note: C, F, G
The major scale has two cycles of sound harmonics that relate to something called the 'Golden ratio' and is the number of creation called Phi, found in the measurements of the body, the face and the toroidal spin of this number most easily seen in a seashell, an ear or a sunflower. Playing combinations of the F and G with a decaying or diminishing C fade out, can sometimes create a sense of momentum and pause, before bringing us back to a perfect cadence G to C or a Major Fourth back from F to a C. Depending on the type of strike or stroke, the fade, timing of playing and interval combinations played, we can create vortices of sounds that spin in both clockwise and anticlockwise directions according to Phi – literally immersing our attendees in the creative energies of life!

5. Throat, Third Eye, Sacral - Note: D, G, A
Playing the D and G bowl is a pleasant harmonic - elevating from the 'hopeful' D to an angelic G singing out. The G relates to the Throat chakra and the vocal chords – communication. D is the place of personality and connection to self. These two notes can be played harmoniously in layering calls to connect the lower self to the higher self. Introducing the A and holding the A for long plays, helps to activate the higher states of consciousness and is great for performing a session of 'active meditation.

Returning the A to the D and alternating the G to the principal D note we are creating the bridge between the heavens, the imagination and bringing a sense of peace. These bowls are best played at the beginning and at the end of a session of mindfulness and relaxation.

6. Third Eye, Crown, Solar Plexus- Note: E, A, B
These bowls are best played sparingly in a relaxing sound bath. The high B bowl creates an alert mind state and the E bowl energises the body. It can best be used to wake up after a relaxing session or for summer sound baths at sunrise. The A and the B are both working with the cycle of fourths and fifths – creating a sense of completion. These bowls will bring higher states of consciousness, ideal for divination and creativity – but can be grating on the nerves if used for longer periods.

7. Root, Heart, Third Eye - Notes C, F, A
Another combination that embodies the circle of fifths (F-C) and circle of fourths (C-F). The A creates a major third when moving from the F and the A-C harmonics can create both a harmonic and melancholic tone when the bowls are struck to reveal the octave from the A bowl. A-C is a minor tone which activates a creative mindset from the Root C-A Third Eye as well as leaving an undertone of the minor tone for contemplative sound.

Contemplative Sound Bath 
The following is an example of the instruments' playing order and style for a contemplative sound bath session.

We start off with some gentle chime and tuning fork sounds which are played until fade.

– This brings the mind into focus and release of mind chatter

– Followed by a wind gong to align the breath.
– This lowers the brain waves to low Alpha for hypnotic suggestion

Play crystal bowls for 8-10 mins using the C E and G tones for peaceful state activation.
– This ‘lulls’ everyone into a safe and pleasant mind state for healing to take place

Crystal bowls fade as smaller Tibetan bowls are introduced.
– First is the Om bowl with silence to align all in a lucid state plus open the space up to the unity potential.

All Tibetan bowls now played quietly. Especially careful when striking the smaller bowls.
– Allow the bowls to play fully into silence as this brings deeper relaxation

Note: Be careful of any bowls near the head and ears - they sound very loud when close. Remember to remove shoes and any garments that make sounds when walking around.

Introduce the Planetary gong with the Jupiter bowl (and Mars bowl for added power)
– The Jupiter bowl good for getting us into a lucid dream state

Continue to quietly play atmospheric Tibetan bowls as we're walking the room. Connects us to Unity source or a mental ‘space’ where mind resides in the higher planes.

Bring is the heartbeat of a drum is accompanied by soft rattles.
– This brings connection between the material plane and the high Astral plane

Introducing a soundtrack of ocean waves, using the ocean drum as accompaniment.

Applying bowls on the body allows for the individual to become an antenna.
Continue playing Tibetan bowls quietly throughout the session and leave bigger gaps between each strike of the bowls to bring deeper states of relaxation.

Bowls around the room – softly play with bigger gaps in between each strike
– This will be the longest section for relaxation and contemplation.

Neptune bowl moved around the room is a good accompaniment.

Adding the water chime very subtly keeps the mind state from sinking into a non-lucid state.
– Good for accessing dreams and intuition

Fade out the bowls and chimes.

Endless knot gong played 3 times.
Energy gong played once.

Soundtrack changes to storm
– Qash away of thoughts, death of the ego.

Quiet moment to pause

Soundtrack birdsong

Chimes played
– Rebirth and dawn

End of sound bath with three chimes of the Ting Shas

Types of instruments we’ll use.

– Crystal tones

Percussion
– Drums
– Gongs

– Tibetan Bowls
– Chimes & TingShas

Drums
Always start softly
– This avoids breaking a meditative state and helps to entrain with the heart

Rhythms – begin with one beat. Add a second. Decide to make a a 2/4, 3/4, 4/4 4/8 5/8

Pace – build up slowly and maintain a half heart beat, heart beat or double heart beat 30bpm (1 beat every 2 seconds), 60bpm (or double beat heart 1bps), 120bpm (excitement 2bps) or 240bpm (trance state 4bps)

Tibetan bowls
Soft mallet – play the bowls with an upward stroking motion – to create a vibration without the ’slap’ or ‘beating’ of the bowl. Use another soft mallet to support the bowl, or use the other hand, especially when on the body. We want to retain a lucid state, not induce sleep and seek to avoid snoring. Only add extra weight or louder playing to gently rouse a sleeper.

Rattles
Use a sideways ’shuffle’ rather than a hard shake – we aren’t doing an exorcism! Careful over the ears – leave gaps as moving around the room, this throws the senses and expands the space.

Gongs
Less is more for a deep relaxation. Large mallets allow less ‘slap’ and a good follow-through with the swing brings greater vibrato response.s
– We can finish the afternoon with a gong shower where all three play.