Sound Healing Manual

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“Nada Brahma – the world consists of sound”

What is Sound?
Sound is a form of energy that travels through a medium (such as air, water, or solids) in the form
of waves. These waves are created by vibrations or oscillations of particles in the medium. When
an object or source vibrates, it causes the surrounding particles to vibrate, creating a wave that
propagates through the medium.
Key characteristics of sound waves include:
Frequency: Frequency is the number of oscillations or cycles of a sound wave per unit of time
and is measured in Hertz (Hz). Higher frequency waves are perceived as higher pitched sounds,
while lower frequency waves are perceived as lower pitched sounds.
Amplitude: Amplitude refers to the magnitude or intensity of the sound wave, determining its
volume or loudness. Greater amplitude results in a louder sound.
Wavelength: Wavelength is the distance between two successive points that are in phase in a
sound wave. It is inversely related to frequency, meaning higher frequency waves have shorter
wavelengths.
Speed: The speed of sound varies based on the medium it is traveling through, such as air, water,
or solids. In general, sound travels faster in denser and stiffer mediums.
Humans perceive sound waves through their auditory system, which includes the ears and brain.
The ear converts sound waves into electrical signals that are interpreted by the brain, allowing us
to perceive different sounds.
Sound plays a crucial role in communication, entertainment, warning signals, and various other
aspects of our daily lives. It can also be analyzed and manipulated for various applications, such
as in music production, medical diagnostics, and sonar systems.
If we perceive sound as tone, note or noise depends on the wave form of the sound
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Base (fundamental) tone & overtones:
Overtones, as described by Wolfgang Sause (overtone specialist), a natural vibration phenomenon

that can be found throughout the cosmos. At each vibration, the counter-vibration additionally
creates faster vibrations that coincide each other. That is a universal behavior of vibrations in
nature, no matter if it is about sound or a vibration on atomic, electric or cosmic level. Thus, it can
been seen that each sound is composed of a base tone and an infinite number of overtones.
The sine note, as a pure note, is virtually non-existent in nature. Most people perceive it as
unpleasant, unnatural and strident. Some maybe recall it from days gone by, when one would fall
asleep in front of the television and the whistling sound of the television signal would wake one up
once no programmer was broadcast anymore.
Also in India & several parts of the world, to let the child sleep, we use songs (lullaby), rhythm etc.
to create an atmosphere of sleep for the child. What we generally call sound really is a combination
of several sine notes. A note consists of a base tone (basic vibration, lowest vibration) and diverse
overtones (harmonics, harmonic waves).
At a note, the overtones vibrate in an integral proportion to the base tone, they vibrate two, three, four
etc. times as fast as the keynote.
The chaotic relationship between basic vibration and harmonics, we call noise (white noise). The
more the sound waves lack order and their frequencies and sound level lack any kind of proportion,
the more we perceive the resulting sound as noise.
Natural noises such as the rush of a creek, the rustling of leaves or the whisper of the wind generally
area combination of noises and harmonious sounds and are mostly perceived to be pleasant. In
contrast, in mechanical noises such as the humming of a generator or a refrigerator, random noise
prevails and they are accordingly perceived as unpleasant.
The sound of a singing bowl
Unlike instruments as the piano or the guitar, the sound of a singing bowl has no exact overtone
series.
Physically, the sound of a singing bowl (like the typical manner of all self- sounding metal
instruments and drums) is “not harmonious”, that is, the frequencies of the overtones are not
integral multiples of the base tone. The sound of the singing bowl rather resembles a natural noise
– a mixture of noise and harmonious notes.
The structure of overtones of a singing bowl depends on the material composition, the
manufacturing process, its shape, height, radius, wall thickness and possible differences thereof (due
to the forging by hand) as well as the tradesmen and the conditions of manufacturing.
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Though each singing bowl is unique in its own sense, but for sound healing therapy we use specific
bowls that has been mastered over the years.
Processing of sound
We all have experienced a certain music provoking certain feelings for us.
Especially important for sound healing is the fact that during the sound transformation in the inner
ear, activated by the stimulation of sensory receptors on the hair cells (cilia), a chemical process
triggers the transformation into electric impulses that are forwarded to the brain. The cilia are
located on the basilar membrane in the cochlea (a hollow, spiral-shaped bone found in the inner ear
). This membrane is at the beginning of the cochlea rather narrow and stiff and becomes wider and
softer towards its end. This way, the different frequencies vary in distance into the cochlea and
stimulate different cells accordingly. The high frequencies stimulate the cells at the opening, whereas
the low frequencies go farther up the cochlea and stimulate cells there.
Thus, with various singing bowls we stimulate different united nerve cell structures.
Feeling sounds: The sounds as a vibro-tactile impulse activate the somatosensory system – a
system of perception and processing that can be subdivided as follows:
exteroception
sensitivity of skin
senses of the skin (activation of the sensory receptors of the skin)
inner perception
proprioception (sensory receptors in muscles, ligaments, joints)
Interception (sensitivity to stimuli originating inside the body) (sensory receptors of the
intestines)
That means, we perceive the sound waves of a singing bowl on one hand via the sensitivity of our
skin, for example when a belly bowl is placed on our back and played. This tactile impulse is
converted into electrical impulses that are conveyed to the brain via the neurons of the skin and
spine.
Since during sound healing we purposefully activate specific areas of the body, we also stimulate
specific areas in the somatosensory cortex. This is how we can influence these areas of
representation, for example when working with stroke patients.
If a stone is dropped in a pond, concentric waves are formed that spread over the whole surface.
Every molecule of the water is set moving this way. Something similar happens during sound
healing with our body, for it consists of 70-80%of liquids. The gentle sound waves spread through
the
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Body’s liquids, through tissue, muscles, tendons, bones, cavities and organs and stimulate the
whole body – tensions and “blocks” are gently cleared away. This is perceivable: the more the body
is free of tensions, the farther the spreading of the sound waves can be felt.
Imagine a box with low walls of a size of 2 x 2 meters that is filled with fine, loose, clean sand. The
layer of sand covers the floor of the box for few millimeters. If this box is placed outside, exposed to
the weather, dislocations, clots and holes will form, dirt will accumulate, and weeds will grow. This
image is comparable to the body exposed to stress, worries, life crises and lopsided movements
that cause tensions and locks. Imagine now a singing bowl that is put in the middle of this sand pile
and played. The sound waves will gently but continuously spread through the bottom of the box
and through the sand. The sand will be moved, cleaned and achieves a new, harmonious texture.
The same happens with our body when we experience a sound healing. The gentle vibration
spread, clear away “blocks”, tensions and constraints. During sound healing, a state of light to
profound relaxation generally prevails. Like in yoga, tai chi, meditation and other such practices.
Science of metal
Nowadays, mostly bell metal is used, which is copper & zinc, in the ratio of 4:1, zinc content being a little
higher as compared to as in bronze as zinc increases the resonance.
History
The Eastern world, especially Japan, China, Thailand and the Himalayas in India are commonly held
as the origin of singing bowls. It can be assumed that singing bowls have existed ever since
humankind started to work metal (starting about 4.000 BC).However, the exact origin of these
instruments from India, Nepal and Tibet and the use at the time is yet unresolved.
Probably singing bowls were originally used for storage of food and ritual offerings. It is
hypothesized that this way they were also used to mineralize food and drink because the metal
composition from which they are made adds minerals to food stored in them. Still today bronze
bowls that are enriched with further metals are found in Indian households.
In addition, there are hints that singing bowls have been used in Bön shamanism during shamanic
rituals. Bön shamanism is the shamanic natural religion of Tibet that later has been partly assimilated
by Buddhism. Singing bowls were allegedly used during healing ceremonies or during rituals
inducing trance. These assertions, however, do not derive from written records but from legends
and myths. Probably they have even been made up in recent years to make singing bowls more
interesting.
Singing bowls exist in countless shapes and sizes and are made from different materials. The most
familiar ones are classical forms of bronze bowls from India, Tibet and Nepal, the Japanese Rim
singing bowls and the Japanese and Chinese
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Temple bells (usually cast) and glass singing bowls, also called crystal singing bowls that are made of
silicate or silica sand.
To give a shape to sound and to use the shaping effects of sound for harmony and health is a primal
urge of humankind. This task is performed by some singing bowls. Today, singing bowls are
mostly used during meditations. Their focused sound is supposed to bring inner clarity. That is why
Japanese temple bells have a long tradition in “meditations of mindfulness”. The person meditating
can observe the transition from sound to silence by playing the singing bowl once and waiting for
its sound to subside.
As just described, singing bowls have not originally been used for any kind of sound healing, neither
in India, Nepal nor Tibet – at least there is no evidence of it.
Sound healing is a new, Western method. It has been developed since 1984 by Peter Hess, based
on his experience in India and Tibet and has been inspired by the old knowledge about sound (for
example from the Ayurveda).
Manufacturing
From the alloy (bell metal), a thick disk is cast, the so-called cast blank. From the cast blank the
singing bowl is forged bit by bit. To do so, the cast blank is reheated again and again, depending on
its size, up to 90 times. Four to six skilled craftsmen participate at the actual process of forging, all
working simultaneously. They shape, working in perfect rhythm, the typical form of the singing
bowl.
Special forging techniques and many individual production steps lead to the desired degree of
hardness and an ideal surface quality. By repeated reheating and quenching the singing bowl gets
a particularly good sound, as well as by manual scraping, that cleans the singing bowl and provides
it with its shining surface. It takes around 30 hours to forge a belly bowl of about two kilograms with
up to five people taking part in the manufacturing process at the same time.
3 types of singing bowls are used for the peter-hess sound healing- The universal or joints bowl, the
belly bowl and the heart bowl. Different mallets allow for a variation of sound. The characteristics of
these three types of singing bowls are explained in detail below and the mallets belonging to each
of them are presented.
Universal or Joint Bowl
Depending on size and hardness of the mallet used, this singing bowl produces a great variety of
different sounds. With its extensive sound offer, this singing bowl can cater for the whole body and is
therefore especially suited for beginners.
Furthermore, this singing bowl excels in its intense vibration and is thus particularly suited for use
at the reflex zones of hands and feet and at joints –
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(Medium bowl or the 600 gr Palm bowl). Always use common sense as to which bowl for tiny hands
and feet or large. With its intense vibration, it has an outstandingly releasing effect on tensions and
“blocks”.
Its sound is often described as rather “eventful”.
Depending on the mallet used, the main range of sounds of this singing bowl changes stretching
from a 100 to 2,800 Hz. Visually, this singing bowl displays a delicate brim, has a diameter of 19-20
cm and a weight of about 900-1,000 grams.
Belly Bowl
As the name already gives away, this singing bow activates with its low sounds mainly the belly
area and the lower back. By using different mallets the sounds of this singing bowl can be varied even
more. With the large felt mallet low sounds for the abdomen are created, with the medium sized
mallet rather frequencies that offer ideal sounds for the solar plexus (the area above the navel).
Depending on the mallet, the main sound of the belly bow stretches primarily over a frequency
range of about 100-1,000Hz. The sound of the belly bow is often described as particularly
"grounding".
There is a small and a large belly bowl. the large belly bowl has been developed for professional use
of singing bowls during sound healing with adults.
The small belly bowl is used with children or with people that perceive the large belly bow as too
heavy.
The belly bowl, too, features a rather delicate brim, but with its weight of about 1,500 gram (small)
and about 2,000 gram (large) it is notably heavier than the joints bowl and with a diameter of 25-26
and 28-29cm respectively much larger, too.
Heart Bowl
This singing bowl with its higher pitched sounds activates mainly the heart area and the upper back.
Here, too, different mallets are used to optimize the sound for the particular sections of the body.
The sound of this singing bowl is often described as especially “clear and fair”.
The heart bowl, too, exists in a small and a large version. As with the belly bowl, the large heart bowl
serves for the professional use during sound healing of adults. The small heart bowl originally was
made on purpose for the work with children, however, it can – during an individually designed
sound healing – also be an asset when working with adults.
The heart bowl's frequency range, depending on the mallet used, stretches from 200 to 1,200 Hz.
Since the heart area is a very sensitive part of the body, this bowl was designed in a way to allow for
rather gentle vibrational characteristics. The large heart bowl is the only singing bowl to have a rather
massive brim, even though its wall thickness generally is similarly thin as with the joints and the
belly bowl. The small heart bowl has a weight of 650-700 grams and a diameter of about 17cm.
The large heart bowl weights about 1,300 grams and its diameter is of 22 to 23cm.
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The sound level of a singing bowl ranges, depending on its type, the mallets and on how vigorously it
is played, from 50 to 100 db. The relatively high number of dB that can be reached is the reason
why singing bowls should be played very gently during sound healing, especially when used near
the head and the ears.
By using different mallets you will be able to create long deep vibrations with the mallet. The idea is
not to bang it to get loud sound! You want to give an even tap with a snap of the wrist. And the as
bowl sound dies down you AGAIN give even tap. So your taps now have a rhythm and it is the
vibrational sustain of the bowl that dictates the next tap but ideally they should all be minimum 20
seconds apart. Although the bowls will go for 40 to 90 seconds depending on the tap and each
bowl has its own time.
If you are tapping other bowls also like the heart bowl and you cannot tell if one bowl is still playing.
Lightly place the back of your fingernail close to the outside rim and you will feel the bowl still buzzing
even though you cannot hear it.
Mallets
As mentioned previously, with different mallets the diverse types of singing bowls produce
respectively typical frequency ranges. A set of a small, medium sized and large felt mallet is ideal to
create all sounds necessary.
How to play a singing bowl
The singing bowls have to be played very gently, never to be hit vigorously. This is very important
and cannot be repeated enough. When the term “played” is used throughout, it always implies that
this is done in a very gentle manner.
If we hit something, the movement is similar to the one when we are hammering a nail into a wall. It
is a movement of the forearm, the wrist is relatively stiff.
A singing bowl that is placed, for example, on a palm or another part of the body, is set moving jerkily,
which is perceived to be rather less enjoyable.
When a singing bowl is played, however, we try to avoid this unpleasant feeling that can be
provoked by hitting. To do so, we play the singing bowl very gently and move the mallet in a
pendulous fashion.
To play, the mallet is held loosely with the thumb, the index and the middle finger (as opposed to
holding it with the whole hand) and moved from the wrist as a pendulum. When playing, the mallet
touches the brim of the singing bowl out of this pendulous movement with medium force – gently
and without causing a jolt. The mallet kind of springs back from the brim into its initial position –
about 10cm from the singing bowl. The mallet should be held as calmly as possible as a more
dynamic movement changes the sound and renders it more eventful and agitated.
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Basic principles
For the application of sound healing, there are a few basic principles that should be followed
meticulously-
What are problematic fields of application?

Sound Healing is first and foremost a method of relaxation and health promotion. Therefore, generally
the same reservations are valid as for all other methods of relaxation. With diagnosed diseases, it
may only be applied by a specialist in a healthcare profession. Of course, sound healing can be
applied to ill people as well.
Basic principles when applying Sound Healing:

Do not promise to cure
Never start without a preliminary conversation to clarify the mandate given by the client
If you get the impression that the client should be treated by a medical specialist or a
psychotherapist, get a doctor's advice – no sound healing before the clarification
Agree on a feedback system with the client – if something is painful, feedback needs to be
given
Keep clear of problematic areas
Strengthen what is healthy
High attentiveness towards the client and yourself
Clarity on the purpose of the sound healing: what is the aim, how can you get there?
Less is more: do not proceed to fast and rather use less elements, support and complement
therapy as a relaxation method.
Particularly problematic fields of application can be:

hypotension
asthma
cardiac arrhythmia
acute migraine
diseases causing a loss of touch with reality (delusions, hallucinations, for example with
psychoses)
serious depression
Even when a sound healing session is given “just” for relaxation, the sound healing practitioner
should be enabled by the professional training to handle possible accessory symptoms of states of
relaxation such as headache, vertigo or anxiety. Have such side effects been clarified with a
physician, you can rely on them being temporary and entailed only by the relaxation. With caution a
sound healing can be given within the limits decided upon by the client about how far she wants to
get into relaxation.
Should such side effects persist, you should gently end the sound healing. It can however be repeated
at another time, if the client wishes for it. In this case, a clear agreement of the objective is of
special importance.
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What effects are to be anticipated-
As all other methods of relaxation, sound healing can lead to the following alterations:
Reduction of blood pressure
Shift of the level of blood sugar
Change of peripheral temperature
Pain reduction
Sleep improvement
Immune system parameters modification
Pulse rate alteration
Unpleasant reactions and “negative experience”

Sound Healing is almost always experienced as relaxing and pleasurable – apart for some exceptions
like in everything.
Sometimes, however, it is possible that the first sound healing session leads to unpleasant reactions
also (e.g. “initial worsening” in homoeopathy). These often are reactions caused by the relaxation
that normally subside after a short time. If this is not the case, the sound healing should be
abandoned for the time being. If the client so desires, the sound healing can be repeated at a later
stage – with special regards to the feedback system and the mandate given by the client. In these
cases it is especially important to be aware of one's limits (personal and professional), to listen to
one's intuition and not perform a sound healing when indicated.
Being mindful about these possible initial reactions which are mainly caused by the unfamiliar length
and profoundness of the relaxation, the duration of the sound healing should be organized
individually (“Less is more“).
Accordingly, it is important to agree in advance on a feedback system with the client so that they
can express insecurities and indispositions immediately and does not “suffer” from them
(otherwise patients can get to false assumptions such as “I have to endure it”, “I can stand that” in
terms of “I have to be strong”). Sometimes new clients during the initial interview report on
“negative” experience they had with a previous sound healing. On further inquiry it is often
discovered that the sounds were not applied carefully and attentively enough or the client has not
been encouraged to report on their condition during the treatment. Here it is important to sensitively
respond to the client's needs and to apply sound healing very attentively and in the rhythm of the
client. The client decides the frequency of the sound healings, the duration of the individual
sessions, the intensity of the sound offer and so on.
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Initial interview – preliminary conversation

Each Sound healing starts with an in-depth preliminary conversation.
As a principle, we differentiate between an initial interview with a new client and all further
preliminary conversations that proceed the following sound healing sessions.
The initial interview with a new client

The initial interview is meant to be an informative conversation with a client that consults you for the
very first time. You should set aside about 15 minutes for this conversation.
Tip: It can be useful to make a stand-alone appointment free of charge for this initial interview, just so
the client can get to know you and to make a later date for the sound healing session itself.
In this initial interview, you can make clear that certain problematic fields need the approval of a
physician before you can perform a sound healing therapy.
Of course it is also possible that during the preliminary conversation it becomes clear that both
parties are not “on the same wavelength”. This should be perceived without judgement and you
should react accordingly. Both sides have the right to take a decision on their own responsibility on
the basis of this first conversation.
The aims of the initial interview are:

to welcome and get to know each other
to give information on sound therapy – first contact with sound
to check the momentary constitution of the client
to clarify together the mandate that is given, to agree on the aim of this sound session
to make an appointment for the sound healing
If the sound healing is performed directly afterwards:

to explain the procedure of the sound healing and to agree on a feedback system
for mutual protection: to have the information flyer signed by the client
The following explanations refer to an initial interview that is followed immediately by the first
sound healing session.
Welcoming and first getting to know each other, is a nice gesture for the preliminary
conversation in general if something to drink and maybe even some cookies are provided. It
gives the client a feeling of being welcome and of appreciation.
The preliminary conversation serves mainly in getting to know the sound healing practitioner
and the client. This way, both parties have another occasion to see if they are on the same
wavelength and they can decide again if they want to proceed together to a sound healing
session or not or if it is maybe just not the right time.
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Information on sound healing – first contact with sound
This is another opportunity for you to phrase clearly: “What is it that I am offering?“ We need to take
care to comply with the basic principles as mentioned before. It is important to stress here that the
sound healing is an offer of relaxation and cannot and should not replace medical or therapeutic
treatment.
Right at the beginning of the conversation you should indicate that everything said and experienced
in the session is covered by the professional confidentiality. This provides the client with a feeling of
security and trust and shows the professionalism of your work.
Tip: When a new client wishes to make an appointment for sound healing session, you could send
her an information sheet (flyer: invitation to a sound healing) on sound healing. It is recommended
to attach a business card and maybe directions.
It has worked well to offer less verbal information but to initiate the conversation directly by a first
contact with sound. A nice possibility to do so is to place a singing bowl on your client's palm and to
gently play it. The different types of singing bowls should be presented individually and played one
at a time to test the acceptance of the client.
Check the overall condition of the client before giving further information about the procedure of the
Sound healing. This check is indispensable and serves to perform the sound healing session in a
secure context. For you as a sound healing practitioner this means an important verification of legal
requirements and conveys your professionalism to the client. This is all the more important for the
sound healing practitioners without a professional healthcare education.
Take care! Under no circumstances do we diagnose – this is the job of trained specialists! That is why
we talk about checking different questions and not about medical history, because this term can
lead to misunderstandings and might imply giving a diagnosis.
The following questions help to provide security and clarification and point out, which areas
should maybe be omitted during the sound healing:
Is there anything I should know?

Are you pregnant? (During the first 12 weeks of pregnancy no sound healing/therapy
should be performed since during this period no other therapies are done, neither)
DO NOT PLACE BOWL ON PREGNANT WOMEN?
NEVER STAND A PREGNANT WOMAN IN GIANT BOWL
NEVER USE BOWLS ON PREGNANT WOMAN’s FEET.
ONLY PLAY BOWLS SOFTLY AROUND PREGNANT WOMEN.
BEST FOR THEM IS TO HEAR A GENTLY SINGING BOWL CONCERT.
Always ask about PACEMAKER or any other conditions.
Do not use bowls on clients with pace maker.
Do not over stimulate by banging hard on bowls.
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This is a very gentle and brilliantly researched method with specific bowls to ensure a deep relaxed
experience.
Induce deep relaxed state through sound vibrations. All of the other results are reviews from clients as
to other conditions being helped or alleviated.
More questions for clients:
Are you under medical, psychotherapeutic or psychiatric treatment?

Current diseases
Acute diseases – no sound healing, as it might intensify the symptoms
Chronic diseases – check for medication (might provide you with hints on medical treatment,
if you prefer not to ask directly)
Where required, with the permission of your client, talk to the attending physician to check if
at the moment a sound therapy for relaxation can be given (ask for a written “declaration of no
objection”). If the sound therapy can be given, the medication should be checked regularly
on measurable changes, if need be.
Check physical discomfort (for example are there or have there been operations, scars,
(joint)implants, implanted organs, pacemaker, blood pressure problems, epilepsy, tinnitus...)
Check mental discomfort (Stress, panic attacks, insomnia ...)
Check psychiatric diseases (checking on medication avoids direct questions – if someone for
example takes antidepressants, no sound therapy may be given)
Emphasis: sound healing serves relaxation purposes – it aims not at replacing medical or
therapeutic treatment.
However, in co-operation with the attending physician/ therapist and upon receiving the “declaration
of no objection”, it can be applied to accompany and support therapy.
Clarify mandate and fix objectives for this sound session together
When these questions are clarified, it is important to define together with the client the aims of the
following sound healing session. For those participants of this course whose day- today profession
entails contact with clients and customers, this is surely no problem.
Here it is crucial to check carefully with oneself to what extend the verbalized mandate and the
desired outcome matches with one's own possibilities and capacities. You should carefully
observe and pay attention to your feelings.
Learn how to respond to the client to design an individual sound therapy. Attention! If you do not
feel well in a situation, if you feel over-strained or if you are even anxious, you should not perform a
sound healing session.
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Explain the procedure of the sound healing and agree on a feedback system. Before starting the
sound session, the procedure of the sound healing should be explained briefly.
Before each first sound healing session, the following information should be given:
the sound healing will start with the client lying on her stomach, then there will be a short break
and afterwards she will be asked to turn around
up to three singing bowls will at the same time be positioned on the body and played gently
after the sound therapy is over, a short time of calm perception (about 5min) will take place
where the client can check how she feels now, before she starts to stretch and straighten
before the concluding conversation, where the experience made can (not has to!) be
reflected upon
it is okay to take a break for a pee! (both for the client and practitioner)
ask for the client's permission, if you may touch her briefly with your hand on the body part
where you will position the singing bowls thereafter
This information provides the client with a sense of orientation during the sound healing so
she can feel safe.
Next to these basic conditions, a feedback system should be imperatively agreed upon now.
Accordingly, the client is invited to give feedback to the sound healing practitioner during sound
session on indispositions and this way take responsibility for the own condition.
Sound healing serves relaxation; therefore it is crucial for the sound healing practitioner to
ascertain that the client is resting comfortably. Indispositions, insecurities and annoyed feelings
should be reported immediately! It is about enjoying the sound session – so wishes should be
expressed, for example when a singing bowl is perceived as particularly pleasurable on a specific
part of the body.
However, if there is nothing special to be said, it is of course completely okay to say nothing during the
session.
Should there still be questions on the side of the client, they can be discussed now.
For mutual security: have the information leaflet signed by the client Before you start now with the
sound healing session, the client signs the information leaflet, so you as a sound healing practitioner
have another written security.
Note: Depending on your professional background and the conditions of your sound healing
proposition (e.g. should you work privately, in a sound “clinic”, a wellness Centre, in a physiotherapy
or occupational therapy clinic, in a hospital, ...) the initial interview can of course vary somewhat.
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Preliminary interview with a customer/client willing to enjoy sound healing session over a
longer period of time –
Many clients decide to enjoy sound session more often, or on a regular basis after they have had their
first one. It is imperative that before each session you have a brief preliminary conversation
During this preliminary conversation, our client has the possibility to tell us about her condition on
that day and how she felt after the last sound healing session. Other topics of this conversation
could be: what has changed positively for the client with regards to the objectives she wanted to attain
by having sound healing session. It is important to fix the objectives for today's session, too.
Useful questions are:

How do you feel today?
How have you felt since your last sound healing, what has changed?
What do you desire for today's sound healing session?
Did you notice that specific sounds or singing bowls, had a particularly positive effect on you,
and that we should use them again this time?
Do you have any questions?
Do you have anything to say that I should know today?
It is understood that everything that is said during a sound session is covered by the professional
confidentiality and is not retold to others.
Of course you can talk about a case during supervision, but you have to take care to do so, in a way
that your client remains incognito.
Be aware that each new client trusts you and that it is your responsibility not to betray the trust. The
setting of a sound healing session opens up space for openness and intimacy, wherein very
personal experiences can be made.
Fear of relaxation can originate from the unconscious knowledge that opening up makes you vulnerable.
It is our responsibility as a sound haling practitioner to be aware of that and to design the sound session
in a way so that our clients can feel safe and sound.
This will be an on-going challenge for you as a sound healing practitioner – for this closeness is of
another kind as for example in a friendship and needs a special way of handling it.
Client record
During your very first sound healing session with a “dummy client” it is useful to already take some
written notes after each sound session. If you offer sound healing professionally later on, it is
indispensable to have a record of your clients and the training sound healing give you the opportunity
to start with it. Of course this record has to be handled with confidentiality and may not be made
accessible to others.
You should note the most important statements from the preliminary conversation, especially from
the initial interview, the agreed upon definition of objectives, the procedure of the sound healing and
the statements of your client
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after the sound session. These notes will help you during your next sound healing to tie in with the
experiences of the last sound session.
When you apply sound sessions professionally, a record of your clients is an important source of
information, should a client develop a discomfort after a sound therapy.
You should note:
clinical data such as name, date, time, duration of the sound session
preliminary conversation and defined objectives of this sound therapy
course of the sound healing with indications and notes
subjective observations regarding the client
your feelings, thoughts, inner pictures
personal experiences, observations, learnings
feedback of the client after the sound therapy and possible wishes for the next one The notes
help you to consciously realize your process of learning and to reflect on it.
Bedding
The bedding is, after the preliminary conversation, already the offer of a safe space and should
therefore be taken care of in a very attentive manner.
Therapy table or spot on the floor

Regarding the bedding for the basic sound therapy there are two possibilities:
the client lies on a therapy table
the client lies on a prepared spot on the floor
The decision for one of the two possibilities is based on the following questions:
What do I prefer? What is comfortable for me?
A (therapy) table has the advantage that the sound healing practitioner can stand with a straight back
which is perceived to be more comfortable by many.
Some clients are afraid they could fall off the table when in profound relaxation – you should take
that into consideration and react to it if necessary.
The foldable therapy table has proven to be the ideal table for the sound therapy. It has the
customary opening for the face and additional side parts (specially designed for sound therapies)
where the singing bowls can easily be placed.
Often a lower table is preferred as it also facilitates the work with a gong. For the work with a table
you have to consider where the singing bowls and mallets can be put so you can reach them easily
and they still are positioned safely. Here, different practitioners have developed diverse utilities.
Some sound healing practitioners prefer to have their clients lying on the floor as it is easier to
position the singing bowls around. Some clients feel safer lying directly on the floor, too, they feel
“supported by the earth”.
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When working on the floor a usual mattress can be used, a yoga mat, a futon, or even a camping
mat covered with a thick blanket. This way, it is easier to position the singing bowls and the mallets
around the sound therapy activity area.
The disadvantage of this choice could be that for you as a sound healing practitioner it might not be
comfortable to be seated. You should make sure that during the sound therapy you can work in a
comfortable position.
For your client it is of course ideal if she has the choice to lie on a table or on the floor depending on
what she prefers.
Utilities for ideal bedding
For an ideal bedding, additional utilities such as pillows, sewn “croissants”, blankets, breast feeding
pillows, or other for professional work the support pillow specially designed has proven very useful.
When choosing the bedding accessories it should be taken care to pick ones that conduct the sound
as well as possible such as tapo, cotton, millet husks or polystyrene pellets.
Bedding enhancing relaxation
The client should be resting in a way that facilitates relaxation. In face-down position the following
parts of the body should be attended to with special care:
relaxed positioning of the head, neck and shoulders cushion under the feet optionally a cushion under
the stomach if the client has a hollow back offer cushions for the arms, so the whole shoulder area is
relaxed
In supine position the following parts of the body should be attended to with special care:
optionally a pillow for the head cushion under the hollow of the knee Relaxing bedding of arms and
shoulders, use cushions to support that area if necessary.
The “wrapping” of the client as it conveys a sense of security to the client and additionally facilitates a
quick relaxation.
During relaxation the body temperature decreases, therefore many clients find it comfortable to be
warmed by a thin blanket (or cloth). This offers protection and often enhances relaxation.
Particularly at the beginning of your professional life as a sound healing practitioner you should
take care to use a (thin) blanket so you can still easily discern the parts of the body of your client to
be able to position the singing bowls directly and confidently on the right area.
For the bedding, generally the following is imperative: The feedback system agreed upon during
the preliminary conversation ensures that the client notifies you immediately if she is resting
uncomfortably or if a singing bowl has not been positioned ideally for her.
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The wish of the client takes priority over the standard procedure of the sound therapy!
Warming up singing bowls
It can be necessary occasionally to warm up the singing bowls to a pleasurable temperature. There
are the following possibilities: The singing bowls can be put on a warm radiator hot-water bottles
filled with warm water an electric blanket Maybe you can come up with other possibilities, too! Before
you put the singing bowl on your client's body, you have to recheck its temperature.
Preparing the body for the singing bowl by touching it briefly
The singing bowls can for their weight lead to a twitching of muscles if they are positioned on the
body surprisingly. Therefore we touch – only on approval of our clients – the respective part of the
body where the singing bowl will be put briefly with our hand or very gently with the soft felt mallet
(man-woman), if the client prefers the latter.
Resting after the sound therapy
After you finish the sound therapy, the client has some time to observe her sensations. About 5min
should be provided for that. The client is invited to take her time and to observe what might have
changed. The sounds are still vibrating, even when we cannot hear them any longer! During this
time it is crucial that you as a sound healing practitioner wait close by! After this time you instruct your
client to stretch and straighten slowly and to ground securely in the mundane plane (Optionally use
the clear sound of a ZEN bowl to do so).
Concluding conversation
A concluding conversation offers your client the possibility to communicate her experiences made
during the sound session. Maybe there are already wishes to be incorporated in the next sound
therapy. This can add new core areas to the following treatment. (Note this in your client record!) A
change of position from lying to sitting or even a change of place for example to a sofa or a couple of
arm chairs facilitate the coming back to the mundane plane. It has proven useful to offer again a
drink (and maybe some cookies) to the client (enhances the “grounding”). During the concluding
conversation you should instruct your client to observe how she sleeps the following night, what she
dreams of and any other observations. It is important to mention that you are available on the
phone, should she have any questions. Maybe provide your client again with your business card
or telephone number. Clients, especially those that enjoyed a
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Sound healing for the first time might come up with questions later and your remark offers them
security. Maybe make an appointment for a phone call.
During relaxation, similarly to sleeping, our attention is focused inwards. Experiences made in a
state of relaxation seem at a distance and are often, like dreams, soon forgotten once the person
has returned to her every day consciousness. By verbalizing the experience once again during the
concluding conversation, we transfer these matters to the consciousness so they can be integrated
with day-today life. It is important that the concluding conversation is not about analysis of the
experience but about a non- judgmental observation. Some clients may wish to continue to work
systematically with their experience. It is advisable to be able to offer a responsible counselling
supporting the client in realizing and using her resources and in finding solutions to her concerns.
You only continue to work with the client if YOU are trained to do so. Otherwise refer your client to a
specialized therapist.
You can offer addresses of suitable specialists.
Now and again it happens that clients feel tired or sluggish after a sound therapy – this is completely
normal. Generally, their vitality and spirit of enterprise returns within one or two hours. We can
recommend in this case that our clients go for a little walk before they drive home. We should
mention, during the initial interview, that it is better not to return immediately after a sound therapy
to normal activity but to take one's time.
A drink of water, is also helpful after sound session. It supports our kidneys in discarding the waste
products of our metabolism that the sound session disengages from our tissues. Therefore we advise
our clients to drink plenty of water during the concluding conversation and during the rest of the
day.
For you as a sound haling practitioner, the concluding conversation is a good occasion to check if
your client has regained her “grounding” and will get home safely.
Tip: With clients that visit you on a regular basis it might be a good kind of “homework” to pay
attention to their own reactions in the time after the sound therapy, because regular sound session
often lead to a change in perception, communication, and emotions. These can offer valuable
impulses for possible examining and/ or redesign of objectives.
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PRACTICAL PART
Heavenly sounds of the singing bowl!!

Put a singing bowl on your palm, dive into the sound and perceive its diversity.
You can hear and perceive a multitude of notes: low notes and high-pitched notes. The base tone,
filled with manifold overtones.
These sounds remind us of the origin of the universe, of our origin. That is it what is so valuable
about the sound of the singing bowl.
Nada Brahma – the world consists of sound. As the universe was created from sound and so have
we humans, that is you. Maybe you can perceive your entire body via the sound. Maybe the
heavenly sound of the singing bowl reminds you of your origin, takes you to your basic trust, gives
you security and a profound relaxation.
It is pleasurable to go on enjoying the sounds for some time, to feel their relaxing and harmonizing
properties.The sound of the singing bowl reaches our innermost, it touches our soul. The sound
dissolves tenseness, activates self-healing processes and frees up creative energy.
Experience the singing bowls
During the course you experienced what it’s like to get to know singing bowls playfully. This
experimenting could be helpful for the first encounter with your clients later on. That is why some of
them are briefly explained below.
Making singing bowls sound – experimental play
The singing bowls invite you to experiment with their pleasing appearance, the diversity of their sound
that can be experienced in handling this instrument playfully – later you will be familiar with these
sounds and learn how to create them consciously and purposefully.
I would like to invite you to do the following:

Explore the singing bowl with your hands, maybe you even want to close your eyes to do that to fully
get involved with it. Perceive its shape, weight and the texture of its surface, your hands curiously
explore the width of the brim and many other details. You start to play the singing bowl by tapping it
with the heel of your hand or your fingertips. Try to make it sound by tapping various parts of it and try to
vary sound volume.
Now you can open your eyes again and start to explore sound with a felt mallet. You realize that
mallets of different sizes and firmness will create different sounds with the same singing bowl. They
vary depending on the angle of play and the impact and show a almost infinite diversity.
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Feeling sounds on the palm – sound healing of the hands' reflex zones Put the singing bowl on
your evenly outstretched palm and play it. Experiment how it feels when you play the singing bowl
gently or very strongly.
Do you feel the vibration?
Does the singing bowl sit securely on your palm or does it wobble if you play it too strongly?
Which note and vibration are pleasurable for you?
How does it feel if you stop the sound with your hand touching the singing bowl? Take a
break and observe how your hand that hold the singing bowl feels now.
Do you perceive a difference in comparison with your other hand? What do you feel?
To harmonize possible differences, now feel the sounds with your other hand, too. In
exploring the sounds and vibrations you already learn a lot about their effects and different
techniques of playing.
During this exercise the palms experience a pleasurable therapy which activates the whole
body via the hands' reflex zones. Therefore this is a nice example of how you can do
something good for yourself in a simple and quick manner.
Feeling sounds via the fingertips – cleaning the meridians
Alternatively you can put the singing bowl on your fingertips if you hold your hand palm up, with the
fingers stretched upwards so the singing bowl can be positioned on your fingers as if resting on
columns.
When positioning the singing bowl (ideally the universal bowl) on your fingertips, take care to touch
it only at its base. If you touch its walls, its ability to vibrate is impaired. It would be ideal to touch it
only at the centre of its base for ideal
Sound expansion. However, this positioning would be very wobbly and it could fall off easily. Take
care to always hold the singing bowl safely when used in this position and play it in a way that the
sound and its vibrations create well-being. Play the singing bowl gently with the medium-sized felt
mallet and feel the vibration seeping in your hands via the fingertips.
Feel how the sounds make their way and unfold their cleaning and harmonizing properties. Gently
and steadily play the singing bowl for 5 minutes.
Step by step the vibrations will travel farther and farther throughout your body. Listen to the sounds
and enjoy the pleasant sensation spreading. Wait until the sounds have died away entirely, put the
singing bowl away and observe how your hand feels now.
Are there any differences in comparison with your other hand? If so, which are there?
Now put the singing bowl on your other hand and play it gently, enjoy the effects of the sounds.
You feel how the sounds spread from your fingertips of this hand, too throughout your body and
unfold their beneficial, regenerating effects, how they flow through your meridians and clean them.
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To conclude, compare again your two hands and the two sides of your body and let the sounds
continue to have their effects and enjoy the feeling of harmonization and refreshment.
This exercise is also interesting for treating yourself. The fingertips are a particularly sensitive part
of the body, here are the sensitive starting and ending points of the meridians. That is why via the
sound waves on the fingertips the meridians (the energy channels of the body) can be “cleaned”.
The exercise can be used at your work place, in stressful situations or during short breaks to draw a
breath, relax, enhance one's own harmony and promote one's health in a holistic way.
The sound vibrates through many hands

This is a very nice exercise to make the expansion of sound waves demonstrative and can be used
to create a “sense of community”.
It is ideal to use a belly bowl with a low sound because its sound waves are particularly intense
and long lasting. Several people put their hands over the hands of their partners, palms facing up,
until four to six hands lie over each other. All together they hold the singing bowl which is
positioned on the upper palm. It is played gently now and its sound waves spread top-down
through the “pile of hands” in a way that even the participant with her hand at the bottom can feel the
sounds.
This exercise strengthens the shared experience (good with families, school classes, ... ) and
astonishes by the intensity of the sound waves perceivable through so many hands. It makes clear
that the sound wave spreads much deeper than its contact surface into the body.
Hearing – listening - perception

By attentive and intense hearing we get to listening. Listening means dedicating to the sound with full
attention – to be with your ear entirely with this sound, inside this sound. Listening does not
happen only with the ears, but with the whole body.
Listening, again, leads to holistic perception.

This exercise helps us to relax quickly, to let go of wearing thoughts, to reach harmony and to
reorganize so we can dedicate ourselves to our tasks again with fresh energy.
For this exercise find a nice, calm spot and sit down in a comfortable position. If it feels good for you,
close your eye, for seeing often impedes hearing. When we close our eyes we shift our attention to
hearing. Focus all your attention on yourself.
Put for example the universal bowl on your palm and play it gently and steadily with the medium-
sized felt mallet. Listen to the sound, feel the pleasurable touch of the sound waves. You will hear
different notes within the sound: high-pitched notes, low notes, many different notes. Together they
form the wonderful sound of the singing bowl, rich in overtones.
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This sound invites you to listen closely. You perceive the sound not only with your ears, but via
your whole body – dedicate yourself with all of your attention to this sound.
Maybe you sense how your whole body absorbs the sounds, is touched by it and filled more and
more completely. Your breath will slow down and become deeper and calmer.
Let the sounds die away completely and rest for a moment, observe, enjoy the state of relaxation
and harmony.
Water in a singing bowl – sound waves become visible tough experiments with water in the singing
bowl and are a very efficient way to make sound waves visible and demonstrate their effect.
Moreover, this exercise helps to acquire a feeling of how gentle or strong one should play. To do
so, we fill the singing bowl to about 3⁄4 with water. The singing bowl should rest on a soft base that
enables her to vibrate (for example a gym or rubber mat). The singing bowl is played with the
medium-sized felt mallet, gently at first, then more and more strongly.
Just experiment and observe what happens!

It is nice to observe how the water reacts to the sound waves, how gentle play creates beautiful
mandalas and how droplets spring from the surface of water like a fountain when playing impetuously.
It is a nice experience to take your singing bowl with you in the bath tub. Due to its shape it floats
easily and, when played, the sound waves spread through the water and touch your body.
All these exercises and experiments help to imagine how the sounds of the singing bowls spread
through the body that consists of up to 80% of liquids and “vibrates/massages” it gently.
Practice
The sound therapy has a duration of 60min, whereas the basic sound therapy itself accounts for
40min. The sound therapy of the back takes 25min, the sound therapy of the front of the body takes
15min. The other 20min are needed for the preliminary and concluding conversation, to support the
client in lying down comfortably and to have her rest after the sound healing session.
**
We start with the back and treat the front of the body afterwards.
When performing an individual sound healing as you will learn to do in the course, the procedure
explained below will be modified flexibly according to the needs of the client.
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The Science of Frequencies and Chakras:
The frequencies emitted by singing bowls are often correlated with the frequencies
associated with the body's chakras. Chakras are believed to be energy centers
within the body, and each chakra is associated with a specific frequency, notes,
color and sound. When a singing bowl's frequency aligns with a chakra's
frequency, it is believed to help balance and harmonize that energy center.
Root Chakra (Muladhara):

Frequency Range: Approximately 256 Hz to 396 Hz
Associated Note: C
Color: Red
Sound: "LAM"
Description: The root chakra is located at the base of the spine. It represents
survival, security, basic human potential, and is associated with our connection to
the Earth. The color red is symbolic of vitality, grounding, and the physical aspect
of our existence.
2. Sacral Chakra (Swadhisthana):

Associated Note: D
Color: Orange
Sound: "VAM"
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Description: The sacral chakra is positioned in the lower abdomen, below the
navel. It's associated with creativity, sexuality, and emotions. Orange represents
creativity, emotional balance, and our ability to experience joy and pleasure.
3. Solar Plexus Chakra (Manipura):

Associated Note: E
Color: Yellow
Sound: "RAM"
Description: Located in the upper abdomen, the solar plexus chakra is associated
with self-esteem, confidence, and personal power. Yellow signifies intellect, self-
assurance, and transformation.
4. Heart Chakra (Anahata):

Associated Note: F
Color: Green (or Pink)
Sound: "YAM"
Description: Positioned in the center of the chest, the heart chakra is linked to love,
compassion, and acceptance. Green represents love, harmony, and healing, while
pink is often associated with unconditional love and compassion.
5. Throat Chakra (Vishuddha):

Associated Note: G
Color: Blue
Sound: "HAM"
Description: Located in the throat, the throat chakra governs communication,
expression, and truth. Blue represents communication, self-expression, and the
power of the spoken word.
6. Third Eye Chakra (Ajna):

Associated Note: A
Color: Indigo (or Purple)
Sound: "SHAM" or "AUM" (OM)
Description: Positioned in the forehead, between the eyes, the third eye chakra is
associated with intuition, insight, and spiritual awareness. Indigo symbolizes
intuition, perception, and higher knowledge, while purple signifies spirituality and
enlightenment.
7. Crown Chakra (Sahasrara):

Associated Note: B
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Color: Violet (or White)

Sound: "AUM" (OM)
Description: Situated at the top of the head, the crown chakra represents higher
consciousness, connection to the universe, and divine wisdom. Violet embodies
spiritual awareness, while white signifies purity and spiritual enlightenment.
Procedure of the Sound healing
Duration: a total of 60 minutes, with 20 minutes of getting to know about patient (follow questionnaire) 40
minutes healing; about 25 minutes for the back, about 15 minutes for the front of the body
INITIAL INTERVIEW / PRELIMINARY CONVERSATION - agree on feedback!
Sole of the right, then of the left foot (reflex zones)

Procedure: 2 Mins each feet
The client is comfortably resting on her stomach. An all-
purpose/joints/universal bowl is positioned on the hollow
of her sole in a way that the entire base of the singing
bowl touches the foot if possible.
First treat the right, then the left foot. The singing bowl is
played with the medium-sized mallet. An efficient bedding
of the feet makes the procedure Easier.
Desired effects:
The sound waves gently vibrates the reflex zones of the

foot, which activates the whole body of the client. She
can perceive how the sound waves spread, flow through
the legs, the spine, massage the neck, spread Through the
head and exit via the tips of the hair.
Notice:
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Usually the spreading of the sound waves through the

body is not yet fully perceived during the first sound
session. The= client feels the degree of permeability of
her body and the positive changes in the course of the
sound sessions!
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Procedure: 3 mins
A belly bowl is placed on the back on the transition zone of
thoracic and lumbar spine (at the height of the solar
plexus/between small ribs) and played with the medium-
sized mallet. In using the medium-sized mallet, the higher
frequencies of the belly bowl become audible that resonate
With this area of the body.
Desired effects:
The sound waves spread from this point pleasurably through
the whole body. The client observes her body – the
permeability and the positive changes during the sound
therapy.
Notice:
Remember the concentric circles that are created when a
stone is thrown into a still pond that sets it moving entirely.
Bring to your mind that the human body consists of about 70-
80% of liquids and that the sound healing acts similar to this
image.
Lower back
Procedure: 3 mins
The belly bowl is shifted from the middle of the back to the area
of the lower lumbar region (over sacral) and is played with the
large mallet.
Desired effects:
Typical problems as tense muscles and “blocks” that have
accumulated here – often an expression of doubts,
insecurities and fear – can dissolve.
Notice:
In using the large mallet, the low frequencies are activated
that gently spread through this area, that is, mainly the low
sounds become audible. We offer sounds that resonate
with this part of the body and invite it to relax.
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Bottom and upper back

Procedure: 4 mins
The belly bowl is shifted to the middle of the bottom (tailbone
area) and played on its own at first.
Then simultaneously, we place a heart bowl between the
shoulder blades (heart chakra) and play it on its own,
initially, too. Afterwards both singing bowls are played
alternately.
Desired effects:
By using two singing bowls the sound waves converge,
“letting go” is facilitated, control is abandoned, a trance-like
state is reached.
Relaxation of the shoulder and pelvis area.
Notice:
Following the general principles of resonance, the medium-
sized mallet is used for the heart bowl and the large mallet
for the belly bowl. To make the procedure easier, it is
possible to use just one mallet or the double mallet.
Bottom and neck area

Procedure: 2 mins
The belly bowl remains on the bottom, the heart bowl is
shifted to the neck area and initially played on its own there.
Afterwards, both singing bowls are again played
Alternately.
Desired effects
Relaxation of the neck. Inclusion of the head area. A free
“flow” of the sound waves through the body is facilitated by
playing both singing bowls in a harmonious way.
Notice:
The singing bowl on the neck area may not touch the back
of the head and should be played very gently. The area of
the head / near the ears is a very sensitive area, the
principle “less is more!” gains special importance here –
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That means, the singing bowls are played particularly gently

here.
Bottom and shoulder blades (first right, then left)

Procedure: 2 mins each side
The belly bowl remains on the bottom, the heart bowl
is shifted first to the right, then to the left shoulder
blade and initially played alone. Then, the two singing
bowls are again played alternately.
Desired effects:
Offer relaxation to the pectoral girdle area
Notice:
Following the general principles of resonance, the
medium-sized mallet is used for the heart bowl and
the large mallet for the belly bowl. To make the
procedure more easy, it is possible to use just one
mallet or the double mallet.
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Bottom and upper back

Procedure: 2 mins
The belly bowl remains on the bottom. The heart bowl is
shifted again between the shoulder blades (Heart chakra).
Both singing bowls are again played alternately.
Desired effects:
Relaxation in the area of the upper back. To feel the
body/back changing, feel the central axis of the body.
Middle of the back

Procedure: 2 mins
The heart bowl is removed from the body, the belly bowl is
again placed on the middle of the back on the transition
from the thoracic to the lumbar spine (on the height of the
solar plexus). Again use the medium-sized mallet.
Desired effects:
Sense the body/back – what has changed during the
sound therapy?
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Soles of the right, then of the left foot (reflex zones)

The universal-bowl is positioned, as in the beginning, first on
the sole of the right, then of the left foot. It is played with
The medium-sized mallet.
Desired effects:
To feel the difference how the sound waves were perceived at
the beginning of the sound healing session and how they
spread now through the body.
Notice:
The sound of the singing bowls now is more complete and
lasts longer.
Conclusion of the sound session in the facedown Position
The sound heling in a face-down position is completed.

Time to contemplate
After sometime the client had to just observe, we ask her to turn
around slowly.
Client turns around
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SOUND therapy OF THE FRONT SIDE OF THE BODY:
Middle of the body

Procedure: 3 mins
The belly bowl is positioned on the stomach above the navel
(solar plexus) and played with the medium-sized mallet to
activate
the higher spectrum of the bowls Frequencies
Desired effects:
The sound waves spread pleasurably from this point through
the whole body. The vegetative nervous system is activated
positively via the solar plexus.
Notice:
If noises of the bowels occur, you should explain to your client
that these are positive signs of relaxation and letting go.
Abdominal area
Procedure: 3 mins
The belly bowl is shifted from the middle of the body to the
lower abdomen (below the navel) and played with the large
mallet to activate the lower spectrum of frequencies.
Desired effects:
The lower sounds invite this area of the body to relax
Notice:
Avoid the genital area to protect the private
Sphere. Therefore position the belly bowl above the pubic

bone
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Abdominal area and upper body (heart area)

Procedure: 3 mins
The belly bowl remains on the lower abdomen, the heart
bowl is placed on the sternum at the height of the heart and
initially played alone. Afterwards, both singing bowls are
played alternately. Following the general principles of
resonance, the medium-sized mallet is used for the heart bowl
and the large mallet for the belly bowl. To make the procedure
easier, it is possible to use just one mallet or the double
mallet.
Desired effects:
Relaxation in this area induces pleasure and security.
Notice:
This is a very sensitive area, therefore you need to pay
special attention regarding duration and intensity of play.
During the first sound therapy this area should be treated only
shortly. After having consulted your client, you can prolong
the duration of the treatment in this area. Pay attention to a
sufficient distance between the two-singing bowls.
If there are problems with the heart (a pacemaker, for

example) this area is to be avoided.
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Abdominal area and throat area

Procedure: 2 mins
The belly bowl remains on the lower abdomen, the heart bowl
is shifted towards the throat area and initially played alone.
Afterwards, both singing bowls are played alternately as
before.
Desired effects:
Relaxation of the throat area.
Reinforcement of the immune system
(Thymus).
Notice:
This, too, is a very sensitive area and a longer treatment is only
done if the client wishes for it.
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Lower of the abdomen – palm of the right, then of the left

hand (reflex zones)
Procedure: 2 mins each hands
The belly bowl remains on the lower abdomen. The universal
bowl is placed first on the palm of the right, then on the palm
of the left hand.
Both singing bowls are played alternately with
The medium-sized mallet.
Desired effects:
Via the hands' reflex zones the whole body is activated.
Notice:
The sound healing of the hands' reflex zones is just done once,
either while the client is lying on her stomach or on her back.
It depends on the position of the arms that the client has
chosen.
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Middle of the body

Procedure: 2 mins
Have the hands' reflex zones been included, the belly bowl
is placed now in the middle of the body (upper
abdomen/solar plexus) and played alone with the medium-
sized mallet to end the sound healing session.
Time for observation

Procedure:
Before the sound session is fully completed, the client has
some silent time to observe and let the sounds die away slowly.
Maybe that is already the time when wishes for the next sound
healing session occur, that can be talked about in the concluding
conversation.
Conclusion of the Sound Healing Session

To conclude the sound session, after the time for silent observation a high-pitched note (for
example of a ZEN singing bowl) indicates the end of the sound healing session and helps to
ground in the mundane plane.
A concluding conversation offers the client an opportunity to communicate her experiences

during the sound session. These can become (new) focal points for the next sound session.
Furthermore, the experiences made in the preceding state of trance can this way be integrated
into the everyday
Consciousness.
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Procedure of the Sound Healing
Type of singing bowl and position on the body Mallet Used

IN A FACE-DOWN POSITION – total time about 25
minutes
universal bowl – right sole medium-sized mallet
universal bowl – left sole medium-sized mallet
belly bowl – middle of the back medium-sized mallet
belly bowl – area of the lower lumbar spine (just above large mallet
the bottom)
belly bowl – bottom large mallet
+ heart bowl – between the shoulder blades medium-sized mallet

+ Heart bowl – neck area (do not touch the head!) medium-sized mallet

+ heart bowl – right shoulder medium-sized mallet

+ heart bowl – left shoulder medium-sized mallet

+ heart bowl – between the shoulder blades medium-sized mallet
belly bowl – middle of the back medium-sized mallet
universal bowl – right sole medium-sized mallet

universal bowl – left sole medium-sized mallet
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Type of singing bowl and position on the body Mallet Used

IN A FACE-UP POSITION – total time about 15 minutes
belly bowl – solar plexus (above the navel) medium-sized mallet
belly bowl – abdomen (above the pubic bone) large mallet
belly bowl – abdomen large mallet
+ heart bowl – heart area medium-sized mallet

+ Heart bowl – upper chest area/neck (do not touch the medium-sized mallet
face!)
+ universal bowl – right palm medium-sized mallet

+ universal bowl – left palm medium-sized mallet
belly bowl – middle of the body medium-sized mallet

High-pitched note (for example Zen singing bowl) indicates the end of the sound therapy
TIME TO OBSERVE IN SILENCETIME TO OBSERVE IN SILENCE
CONCLUDING CONVERSATION (maybe offer a drink of water)
39
Now we learn techniques to support these processes with Bowls and Fen-Gongs.
This Sound Healing technique can provide a holistic solution and effective
contribution to health maintenance, or in the case of a disease assist in the
recovery Process.
The principles and attitudes of a Sound Healing practitioner

Sound methods are characterized by the following principles and attitudes of the
Practitioner:
MINDFULNESS
APPRECIATION
WHOLENESS
LESS-IS-MORE PRINCIPLE
SOLUTION AND RESOURCE ORIENTATION
DIALOGUE BASED INTERACTION
Mindfulness
Mindfulness is the first principle of sound healing methods. Mindfulness for the client, for the setting,
As well as for yourself as the practitioner.
Mindfulness means the judgment-free observation of what. What is on my own, with my counterpart
and resulting from joint action? Without being distracted at the moment and be aware of (intentionally,
willfully) sensory impressions, thoughts, exercise, feelings. Our intentionally or willfully guided
mindfulness strengthens our perception of the moment of the area on which we focus with care - we
perceive this region more clearly through (eg, physical exercise, rising interior pictures,).
Our attention is directed to what is happening during the healing session, we train our sound and
sensibility for what is revealed to us immediately, we perceive non-physical energies, such as the mood
or constitution of our counterparts. The essence of mindfulness is that it does not
Evaluate, but neutrally observed - it strengthens feelings of confidence and serenity.
40
By practicing mindfulness for the moment in us, we learn to be present in the moment. This learning also
strengthens our intuition and a goal-oriented action (visions will be realized in the practice),
We carefully observe our clients, trying to read their body language. The aim is also to trust our own
intuition to guide the exercise of the intangible, where appropriate, so we can also ask, for example, if
we feel that a singing bowl should stay longer at a particular body position
Mindfulness, as we understand it at the Sound healing therapy refers also to a careful consideration of
each other.
We have respect for the lives of our clients - regardless of whether we understand this or not, we respect
our clients in their decisions.
A careful approach is not so much for you as a practitioner, but may be helpful for our customers /
clients, therefore we talk to them about the sound healing, and invitation comes from them. We also turn
with mindfulness to what is happening in the session.
We can, broadly speaking, describe mindfulness, as an attention focusing. According to our solution and
resources-oriented attitude as a sound healing practitioner, we focus our attention on "Healthy".
The focus of attention is also manifest on a physical level; a careful attitude can change our lives.
Appreciation
Closely related to the mindfulness is our respectful, loving attitude. It forms the
cornerstone of any cooperation or interpersonal encounter. For you to feel valued,
in itself includes a wholesome healthy aspect.
The humanistic psychology's basically positive image of a man is here with its five
basic postulates:
Each person is unique and forms a whole that is greater than the sum of its parts.
Man is a social being and his life takes place in human relations.
The pursuit of awareness about themselves (self-reflection) is an essential

characteristic of man. The conscious experience is in turn a prerequisite for being
able to understand their own and other humans experience in general.
Human as a creator of his own existence. He is able to choose and decide (own
responsibility), this is why it is possible for him to change his current mode of
existence and to transform himself.
The man has the impulse to develop and grow. The objectives and values of
humanity form a part of his identity. It is assumed that the human organism trusted
by itself and not educated or regulated, must be socialized.
Full appreciation for the client as a person, for his perceptions, feelings and
emotions, for his handling of the situations or problems is the basis of our work.
Value and respect the particular attitude and perception of life of your clients.
41
Be aware of your own attitudes and perceptions of life, you can avoid the
transmission of your expectations to your clients.
This appreciation is but particularly also to ourselves.
As described in the section Mindfulness, during a sound session we try to be very

aware of ourselves, of the other person and the action of a sound therapy:
We perceive without judgment!
Holism Sound Healing Therapy is understood as a holistic method that appeals to

both body, mind and soul. The sound itself reflects the principle of wholeness and
polarity alike. The rise and fall of sound, alternating between silence and sound, is
experienced as two inseparable poles -as during the sound healing session its,
tension - relaxation. In working with the sound, a person is addressed as a whole,
he feels and experiences on all levels: physically, mentally and emotionally.
Perhaps this is one reason that so many people experience the sounds of the
singing bowl as direct and appealing. Maybe their ability to sense the sound returns
back quality of their own (often lost) wholeness.
In deliberately listening to the sounds one can create a return to hearing again of
self and others.
Solution and resource based

The sound healing methods are aligned to the resources of our clients. It is assumed that everyone
already carries the solution for the way to his destination - although perhaps the access to it is not just
yet perceivable.
This is where the sound session fits with its focus on the reinvigorating of the healthy. The light trance
state that is reached in the sound sessions enables relaxation, providing useful access to the
unconscious parts of our "inner information", our “inner healer" and thus to untapped resources. In our
judgment free stillness (our inner "emptiness" within, the meaning of unconditional, expectation free
devotion) as a sound session practitioner we open a space in which such access is possible for our
clients without our influence - the sound creates the effect for you!
42
Less-is-more principle
In the sound healing methods the “processes” will not be achieved inappropriately
fast, rather, a sustained, positive effect can be achieved through cautious, gradual
approach. We should pay attention to individual needs, and pace of our clients in
order that the full effect of sound healing unfolds and can be integrated
permanently - whether in the field of wellness, self-development, pedagogical,
therapy or medical context.
The simplicity of the sounds results in a reduction to the little essentials in the peace
and quiet.
Music often stimulates the mind to analyze processes, sounds rather help circular
thoughts through the sensory deprivation, the overtone rich music calms
intellectualizing spirit. Engaging in the sound, we get back in touch with ourselves,
our own needs, desires and longings. The simplicity and diversity of simultaneous
overtones of the Singing bowls expresses a genuine invitation to the sensual
experience, it is ideal for listening and hearing and stimulates the imagination. It is
also particularly crucial that there are the sounds, as opposed to music, beyond a
perception of how "musical" or "tone deaf" you are.
Dialogue
The relationship between the sound healing practitioner and client is influenced by
a dialogue based interaction in which they confront each other as equal partners.
The dialogue based interaction also includes the jointly developed preliminary
targets for the forthcoming sound session. Priority will be given here of course to
the needs of the client.
43
The power of consciousness

Sound therapy supported by mental images
As part of the sound healing, attention focusing, working with mental images and
affirmations has always been a high priority, which can be increasingly
substantiated by neurobiology evidence.
Thus says Joachim Faulstich (2006) in his book of the "Healing power of
consciousness". As already mentioned in the point "mindfulness", attention is
followed by the (sound) energy. It is our internal images, that shape our decisions,
actions and central perceptions. Therefore a key aspect is to be aware of their
existence, especially in work with other people.
We know for example from neurobiology, the self fulfilling prophecy (thoughts
create reality) which means that by our thoughts and attention we guide our
expectations for something. It then happens, and we feel validated. The power of
Manifestation, as also described by Rhonda Byrne in her book “The Secret”.
Example: Your focus is for example directed due to your own pregnancy, to
pregnancy, suddenly you see all pregnant women.You have an optimistic attitude,
life is easier for you. In the context of a sound healing, we turn our attention to the
healthy, well "functioning". We talk of an offer of the sound session for relaxation,
health promotion of well-being.
Non-material aspects of sound healing
General
The subtle range (often called aura) describes the non-material environment in our
immediate body environment from which we can obtain information or we
communicate at the non-verbal level (not to be confused with body language).
Examples:
Everyone knows that e.g. walking into a room, we may feel discomfort, we also
speak of "bad air" or "there's something in the air".
We are in a room filled with people and feel the person looking at us, even before
addressing us.
Everyone has an aura, a subtle surrounding area. Probably everyone has even felt
the so-called aura field of another person, only he was not aware of it. Most people
usually ignore such experiences.
Mystics in all parts of the world say that they see light phenomena around the
heads of people. Interestingly, images of saints, these are often surrounded by a
beam, a halo around the head or wrapped in a luminous cocoon. This could be
equated with the aura, but could also be explained by the fact that in earlier times,
people were much more sensitive to the perception of the light sources. From
biology, the phenomenon is known of the energy in the form of light being emitted
in biochemical processes.
From the perspective of quantum physics Quantum physics shows that all matter is
vibration, including the human. In this respect, a clear body limits strictly speaking,
are only in theory and subjective.
"Science and mysticism as two complementary manifestations of the human mind,
44
its rational and intuitive ability.”
Body psycho therapeutic model of Wilhelm Reich: Health & Aura, Aura -
Orgone field & Orgone energy
After the therapeutic model of Wilhelm Reich (03.24.1897-03.11.1957), we speak of
the health aura and aura. Reich called the Aura, “Orgone field” and spoke of the
“Orgone energy”. He equated the orgone energy with the "Cosmic energy" or “vital
energy”.
In his body psychotherapeutic model, it was assumed that the healthier the person
is and the smaller the probability it can be influenced by outside forces, and the
stronger and more dynamic is their aura.
The section that surrounds the body directly, he called health aura. This is the area
surrounding the body at a distance of about 15-30 cm. Following the model of
Reich, the direct results of health and congestion are in the health aura. This is the
area we work with which positively affect health in a holistic sense.
Electromagnetic energy fields
The aura describes primarily an energy field that surrounds all matter. Everything
that has an atomic structure, also has an aura - an energy field. Every atom of
every substance is made of electrons and protons, which are in constant motion.
These electrons and protons are electrical and magnetic energy oscillations.
The atoms of living things are active and vibrate more than those of inanimate
matter. Therefore, the energy fields of trees, plants, animals and people are easier
to identify and to feel. There is for example different bio-resonances with which one
can measure and influence these fields.
Electromagnetic energy fields are created in all bio-chemical reactions in living

organisms. So we have an electromagnetic energy field around the body, which we
can also perceive ourselves.
In Sound Healing we work in the electromagnetic field (aura), we therefore offer the
predictable, orderly pulses through the sound vibrations of the bowl (with sound
healing session as a way of body therapy) and through our structured activity -
supporting the health in the just-described understanding.
In the sense of order and predictability, the connection of the new elements
(always) with the basic sound healing is also important as this has a known,
predictable structure. Recognizing and / or influencing healthy and abnormal
metabolism can be derived by methods of bio resonance based on those
electromagnetic energy fields
45
Other views
Above and beyond these concepts are those related non-physical energy systems
in Ayurveda, Chakra teachings or in Traditional Chinese Medicine. The teaching of
Acupuncture points and Meridian systems/Marma points are an important element
that describes the subtle field. This doctrine is now included in many holistic
treatment approaches, and increasingly based on scientific research.
The following are the terms health aura (you could also call direct body
environment) and Aura (could also be described as a large body environment).
HEALTH AURA: means the immediate area around the body, such as at a distance
of 20 cm.
AURA: means the area that surrounds the body up to a meter.

The focus is the perception, but without judgment and interpretation!
Sound therapy as a holistic contribution to health maintenance Health and

disease as different resonance phenomena
The application of sound healing techniques is based on a holistic understanding of
humanity and the
Vision of health and disease as different vibrational phenomena.
As explained in the script, the sounds of a singing bowl will be perceived to a significant
extent physically (physical level of vibration of the singing bowl vibrations) as well as other
sensation (acoustic signal of the singing bowl). Vibro-tactile and auditory stimuli as well as
an emotional impression (sound, but also the human aspect) can cause a variety of sound
resonance phenomena. Accordingly, the effect of the sound is more complex, the different
levels of perception can also be targeted in a therapeutic context. This also requires a
corresponding depth of the therapeutic training. In this sense, health can indeed be
understood as a matter of resonance.
Take the various biorhythms of the body, in harmony with each other and we are
also in harmony with our environment and our fellow men, then we could talk of the
health in a holistic sense. An instrument of that harmony of balance, is manifested
in physical or psychological symptoms, also in disharmony. Here is why it is
important to be flexible to respond so as able to resonate under a variety of
influences.
46
Disturbances that threaten the natural harmony
In the course of life are moving forward with several more or less sensitive
disturbances that may affect the harmonious balance.
These disturbances can be understood as a discordant and arrhythmic vibration

affecting the whole organism. In harmonious interpersonal relationships can be just
as disruptive, such as a poor diet, environmental conditions, irregular sleep, stress,
anxiety or worry. That is, both on a physical, as well as spiritual level, the harmonic
vibration of the whole organism or individual body parts could be disturbed and
cause disease or imbalance.
Health maintenance and healing means preserving the harmonic, rhythmic vibration
at all levels, strengthening and restoring them.
Like it has been seen in research that sound healing has positive impact on stress
management. In this sense, the excellent sound session reduce distress and
enhance the immune system or recovery processes and contribute to the
mobilization of self-healing processes
Relationship to own body
An important factor for our well-being is our body perception. Many people have a
troubled relationship with their own body - regardless of age and health. They feel
e.g. too large, too small, too fat, too skinny, too young, too old, not desirable
enough, etc., and have difficulties to accept and to love themselves as they are.
The well-being of their bodies is an important component of health in a holistic
sense. In addition, a more careful and prudent use of valuable treasure of their own
body is important for physical signals, for example, when congestion symptoms
occur (e.g., headaches, digestive problems, tension ...) generally to perceive and
adequately respond. The attitude to their own body is thus an important ingredient
for a healthy lifestyle.
The fact that the client during the sound session can feel the sound in their own
body, provide a valuable impetus. The above-mentioned study provides the first
empirical evidence. It shows the positive effect of the Sound session on body
image of the subjects.
47
The healing process supports the client to be gradually brought back to be felt in its
entirety, i.e. through the sound session the shift of attention can take place away
from a deficit view towards a positive attitude of the own body.
Lets us turn our attention to what is good about us and what is beautiful in our lives,
it comes easier to us, to have the trust and confidence in life.
Sound-Vibration Healing and new order
Often clients report back that the sounds and the sound session have helped them,
come back in contact with their own needs and desires. Daily stress and diverse
requirements in business and family lives, easily leads to the fact that we forget our
deepest desires and longings. To recognize them is true and important, to express
them to others than to act is important for health in a holistic sense.
The sound session leads quickly to an "inner space of peace" in which we are
sensitive to our own needs, which perhaps in the previous way of life were not
recognized. Certainly, to be aware of these needs is the first step to change and
thus to new order.
Many clients describe that through the sound session they "got power" to change
things in life that they have not been able to change the past.
Such processes can be very profound and should be supported when necessary by
professional therapeutic support. Here it is considered that a practitioner's own
limits be reviewed and possibly to recommend or refer the client to a professional
competent therapist.
The Fen-Gong can be described as a special form of a singing bowl and, with its
sound characteristics also an instrument from a family of metal-idiophones. The
Chinese-Fen Gong is an almost flat disc made of polished brass. Because of its
radiance, it is sometimes referred to
As Sun Gong. Because of its form and production the gongs can easier spread the
vibrations, so that it begins to vibrate vigorously with stronger hitting.
48
The Fen-Fen Gong and its specific nature
The gong has, a valley and a belly. This is reminiscent of the shape of a lens, as
known perhaps from the physics lab. If the Fen-gong struck from the side of the
valley (ie from behind), its effect (on the side of the belly) is rather extensively,
widening.
If the Fen gong struck from the belly side (from the front), the sound (on the side
of the valley) has a rather focusing centering effect. The enveloping effect is
desired in a sound sessions. The focusing effect, makes sense only if you want
to work very hard at one point and this is extremely rare. Here, the wish of the
client or the intention of a sound session is crucial.
Fen-Gongs are available in different sizes. From the experience, the gongs with
a diameter of 50 cm or 55 cm are ideal as they are handle well and have a
pleasant sound spectrum. This is highly individual, depending on one's body size
and strength as the Fen-Gongs with 40 or 45 cm in diameter are also made.
During the work on the body please always check that the strap is strong and
well secured. It should also be undertaken to ensure that when the gong is
struck it produces no noise.
Playing the Fen-gongs

We strike the Fen-Gong in the elements, as described in this script, from the
concave side (back) and run it on the convex side (front) ahead in that direction.
The Fen-Gong can like a tree, divided into a core, the sapwood and outer rings
(annual rings in trees). Basically this type of Gong is struck in the lower transition
region between the core and outer rings with the corresponding mallet. The
result is a smoother, quieter and more stable sound - similar to the singing bowl.
Striking to the Fen-Gong at the outer edge, however, creates a more movement
in the sound, hence the name, wind-chime.
This quality is not usually desired at the Peter Hess-sound therapy, as this would
be too high and our intention is stabilization and not activating the process.
Further practical issues

Some clients have requested that the sounds are directed on to, for example
strained body to feel the sense of "This is good for me! - Because they are used
to it from other therapy techniques. Here, the explanation can be given that the
Sound therapy targets problem remotely and strengthens the healthy so that it
can spread out from the healthy.
49
It is important to not directly address the problematic area, but to guide the
awareness on to the healthy sector, where the sound is perceived as pleasant
and from where gently, gradually can loosen and solve the problem area
providing relaxing opportunities.Therefore, the client is asked to try these other,
perhaps new approach in this form and feel differences
Targeted mallet technique - the rhythm of the singing bowl
The sound therapy leads quickly into a state of deep relaxation and recreation at
all levels. This realization of a strong health of resonance for example, can be
shown by the measurement of the Heart Rate Variability (HRV).
Here not only a gentle strumming technique plays a role, but also the quality of
the decline of the sound of singing bowl. There is an increasing resonance
between the singing bowl to the person who receives the healing, the
phenomenon of gradually rhythmic pulsation of the sound bowl we hear (also
feel) as a kind of wah-wah effect. The practitioner is of course always involved in
this resonance event. Therefore, it is so important to consciously perceive this
resonance phenomenon and engage in the process of sound healing. A steady
rhythm of the singing bowl can support this proce
Hints
Priority is always the contact with the client – if the handling of two sticks prevent
this, then use only medium mallet. Further Practice.
50
CLEANSING - sound flow in the Aura
When standing, the sound therapy practitioner moves 3 times a sounding or

vibrating universal bowl in the field of health aura (at distance of about 10 cm to 20
cm from the body) along the main axis of the body (prime meridian) of the client
from top to bottom.
For this, the singing bowl is struck with a medium mallet above the head and slowly
led from there to below the feet. This is repeated 3 times. To complete the singing
bowl is used from below the feet to up over the head, also 3 times. The singing
bowl is then, after reaching the final position ( the head) led away in a broad arc
from the body, the third- time it is gently stopped with the mallet over the crown of
the head.
Desired effect: This exercise is an offer to come to rest and thus serves as an
introduction to the relaxation. The intention is to remove excess of energy (anxiety,
stress, worry,..) cleanse, harmonize.
Hint:
Good to make someone experience. DO NOT combine with the healing process.
Extension: THE SOUND in ONE DIRECTION

Sound Flow from top to bottom
It can be discernible that with the sound flow from top to bottom the attention shift
downward from the head to the ground happens. This may be associated with a
first feeling of relaxation, which is usually connected response with a deep breath.
Some clients describe the exercise as if their excess energy that makes them feel
anxious or stress can be drained.
Desired effect: Basic preparation, cleaning, taking out, eliminate, calm
Hint:
We use for this exercise the universal bowl, because the whole body responds to its
sound vibration.
If the exercise serves to "ground", it can be enhanced by the use of a belly bowl.
51
Sound Flow from bottom to top
The upward shift is bringing the attention back up to the head, then into the here
and now. This may be associated with a sense of clarity and concentration. Some
participants described this exercise as charging, refreshing and revitalizing.
Desired Effect:
Energizing, filling, reorder, erecting, finally arriving in the Here and Now
Hint:
The universal bowl is used because it offers the sound vibrations for the whole
body.
The direction of striking the bowl increases the desired effect.
The effect can also be enhanced through the use of a heart bowl.
Aura Scanning (without the Bowl)

The client is lying down. The practitioner scans (approximately 15 cm above the
body) with the palm of the preferred hand (ie right-handed to right, with left-handed
to left) in the area of the health aura of the client.
For this purpose, you lead your palm over the body of the client and try to sense
this by the fine movements of the hand.
Objective: This is a good contact with the client is - can empathize!
Loosen with sound

For this purpose, the bowl can be placed directly over the problem area BUT, if the
client’s problem is aggravated by pressure or bowls’ weight, the singing bowl is
gently placed and struck above or below the affected area and sound guided
towards the problem area with a suitable mallet.
Desired effect:
Soft approach, inviting relax, expelling, harmonizing.
52
Hint:
Strike the bowl towards the problem area
Example A): lower back

Prone position, belly bowl is put on above the lumbar region (equal to the solar
plexus) and strike from top to bottom with a large mallet. Here, the sound as it
travels through the body in that direction is clearly felt having extracting effect. At
the same time, the health aura is moved by the sound vibrations, congestions may
fly off and the energy field comes back to the basic harmony.
Example B): Shoulder and around the neck

In prone position a heart bowl is placed on the upper back and rung towards the
neck with the middle mallet. Here, the sound as it travels through the body in that
direction is clearly felt having extracting effect (i.e. the area in which a strain is most
clearly marked). At the same time, the health aura is moved by the sound
vibrations, congestion may fly off and the energy field comes back to the basic
harmony.
Energising
The universal bowl is rung below the feet toward the body at the level of the health
aura (about 10-15 cm from the body) through the body central line to run above the
head. Repeat this process 3-5 times.
Desired effect:
The striking direction from bottom to top correspond to the intention strength from
the earth, attention shift to the head ("be present here and now"), into wakefulness,
concentration, energizing
Hint:
The universal bowl is used because it has all sounds for the body.
Again, the striking direction of the movement direction is adjusted.
Grounding
At the end of a sound session the belly bowl, after it has extinguished completely
on the solar plexus, is moved to the feet and made ring with the large mallet. The
striking direction is away from the client (down).
53
Desired effect:
In this exercise, it is clear that the attention is directed back to the contact of the
feet to the earth (matter). This ensures arriving in the here and now, within the
meaning of "reality", and to establish "roots".
Hint:
This "ground" exercise is very suitable to close a sound session.
Closing the session with a Small/Zen Bowl

After the relaxation period at the end of the sound session, the sound of a Small
Bowls with rubber Mallet, can be extinguished once very lightly at a distance of
around 12 inches from the client’s forehead.
Desired Effect:
The clear, high tone of the Small-bowl brings back the here and now and refreshes.
It is arranged with the client characters for the end of the sound therapy.
Hint:
The Small-bowl resonates very delicately (so that no moment of shock is produced)
Used like a wake up bell after the session.
MORE ELEMENTS TO HARMONIZE THE HEALTH AURA
AURA PAINTING
A singing bowl is moved in the health aura (about 10-15 cm above the body) above
the "Problem area". Here, the singing bowl is moved slowly in various directions,
back and forth. It develops usually a circular motion. A movement in the anti-
clockwise direction loosens and dissolves. A clockwise motion completes.
Desired effect: The objective is to relax and harmonize the health aura.
Hint:
When Aura Painting for the upper body area use the heart bowl, for the lower back
use a belly or universal bowl.
AURA CLEAR OUT

54
A possible variation of the AURA PAINTING is the CLEARING OUT. The

movement follows the intuition.
If the CLEARING OUT is to be strengthened, then the slow movement of the bowl
aligned with the "Problem area", counterclockwise and also away from the body in
a spiral shape.
Note:
- The "Clearing out" is followed after AURA PAINTING
ELEMENTS WITH THE Fen-Gong
When working with gongs it should be remembered that the effect of the gong is
much greater than that of the singing bowl. Therefore, it can only be used with
special care and attention. The client must be familiarized with the use of Fen-
gongs. The initial sound from the gong should be softer and we should have a
profound respect for the gong sound and its mode of action. Only when the sounds
are pleasant and feel accepted, the Fen-Gong is used. That is, the Fen Gong come
only after some sound session are performed. Furthermore we should not just be
working with the gong but with the consent of a client (personal responsibility).
Before the Fen Gong is used e.g. in a public concert, you should acquire in-depth
knowledge and skills at the appropriate seminars. Please, always check that the
suspension of the gong is safe before use.
CLEAN and ENERGIZE the aura with the Fen-Gong

These elements are similar, as with the singing bowl.
The exercise does not begin directly above the head, but about 30 cm before the
body begins. There is only 1 time the gong struck softly and proceed in one
movement to the feet, finishing about 30 cm beyond the end of the body. It should
be noted that the gong at the end fades away if possible, or in a wide arc around
the client is returned to the starting point, so that the upper body always start with
the strike.
Desired Effect: earth, meaning, cleaning and draining, reassurance
The energizing is effected by the movement of the Fen-gong 1 time from the feet to
the head. The gong is with the front side (mountain side) to the direction is struck
from behind (the valley side).
Hint:
These elements just described can be carried out with a singing bowl and
integrated differently in the sound session:
The first exercise is like scanning, what we normally do with the universal bowl.
The other exercise is used to energize, we normally do this with the universal bowl
and can be suggested as the completion of the basic-sound session.
55
AURA-PACKING with the Fen-Gong
The client is seated in an upright position either on the floor, a stool or a chair or
when client is lying down for the sound session.
The Fen-Gong is struck in the health aura (about 20 cm away from the body). This
is done with minor oscillations of the Fen-gong in a clockwise direction around the
body. Starting from the bottom, in different heights, so that eventually the entire
energy field of the body is considered.
Hint: Aura packing can be done using the universal bowl as well.
56

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1

“Nada Brahma – the world consists of sound”

Key characteristics of sound waves include:

Base (fundamental) tone & overtones:

Overtones, as described by Wolfgang Sause (overtone specialist), a natural vibration phenomenon

The sound of a singing bowl

Universal or Joint Bowl

How to play a singing bowl

What are problematic fields of application?

Basic principles when applying Sound Healing:

Particularly problematic fields of application can be:

What effects are to be anticipated-

Unpleasant reactions and “negative experience”

Initial interview – preliminary conversation

The initial interview with a new client

The aims of the initial interview are:

If the sound healing is performed directly afterwards:

Information on sound healing – first contact with sound

Is there anything I should know?

More questions for clients:

Are you under medical, psychotherapeutic or psychiatric treatment?

Useful questions are:

Therapy table or spot on the floor

What do I prefer? What is comfortable for me?

Utilities for ideal bedding

Bedding enhancing relaxation

Warming up singing bowls

Preparing the body for the singing bowl by touching it briefly

Resting after the sound therapy

Heavenly sounds of the singing bowl!!

Experience the singing bowls

Making singing bowls sound – experimental play

I would like to invite you to do the following:

Feeling sounds via the fingertips – cleaning the meridians

The sound vibrates through many hands

Hearing – listening - perception

Listening, again, leads to holistic perception.

Just experiment and observe what happens!

The Science of Frequencies and Chakras:

Root Chakra (Muladhara):

2. Sacral Chakra (Swadhisthana):

3. Solar Plexus Chakra (Manipura):

4. Heart Chakra (Anahata):

5. Throat Chakra (Vishuddha):

6. Third Eye Chakra (Ajna):

7. Crown Chakra (Sahasrara):

Color: Violet (or White)

INITIAL INTERVIEW / PRELIMINARY CONVERSATION - agree on feedback!

Sole of the right, then of the left foot (reflex zones)

The sound waves gently vibrates the reflex zones of the

Usually the spreading of the sound waves through the

Bottom and upper back

Bottom and neck area

That means, the singing bowls are played particularly gently

Bottom and shoulder blades (first right, then left)

Bottom and upper back

Middle of the back

Soles of the right, then of the left foot (reflex zones)

The sound heling in a face-down position is completed.