Tibetan Singing Bowl Sound Healing sessions started for me in the mid 1980's. In the late 1970's I had already begun sound healing using my existing large collection of sacred percussion instruments. However, whilst I began my collection of sacred Tibetan ritual instruments in the summer of 1973, and whilst I had a fair number of singing bowls from China and Japan in my collection, my very first Tibetan singing bowl arrived in the summer of 1981 exactly upon my 33 rd birthday. This was truly a most wonderful and precious gift with experts estimating it to be over 800 years old. This bowl contains a lot of Gold in its make-up and I realised at once, upon first meditating with it, that it was a Heart Chakra bowl and attuned to a particular Spiritual Master – with whom I have and still do work. I could hardly have begun my large collection of Tibetan singing bowls with a more perfect bowl. From then onwards, during the 1980's, I received more and more truly special Tibetan singing bowls with more and more of them being useful for Sound Healing.

And so it was that around 1985, with a collection of Tibetan singing bowls featuring several Chakra Bowls, that I started to practice what had unfolded as my own especial form of Tibetan Singing Bowl Sound Healing utilising the spiritual potencies that I had found within certain very special sacred singing bowls that had come into my care. Such bowls are very rare, being as they have been dedicated to serve quite specific spiritual energies used by practitioners along the path of spiritual unfoldment (certain higher tantric paths). Nevertheless, after sorting through around 5,000 bowls and collecting for over twenty years now, I currently use around 68 singing bowls for my sound healing work (with my full collection [including my musical needs] being over 200) and amongst these are found many of the aforementioned magically potent spiritual tools within my collection. One such category amongst these is that of Chakra Bowls – that is to say that a certain bowl will be found to resonate with a specific Chakra. I believe in universals, and that everything descends from these archetypal universals, and whilst individuals may not always agree on whether a chakra bowl does work on the claimed chakra, the note of the spiritual archetype will work on planes beyond the individual's perceptions. This is a complex subject but perhaps I can give a glimpse of what I am talking about via the human aura. The human aura is constantly changing due to its interactions with the environment. However, one can talk of and perceive what is termed the Astral Permanent Atom of the Aura and this will be the colour of that person's aura when left to stand by itself alone. 

I have found that the interval between pitches existing between the lowest, or Root Chakra, and the highest, or Crown Chakra, is far more than exists within any one single bowl. Although I mention intervals, it is not with reference to specific intervals found within the Western diatonic musical scale. That scale certainly did not exist in Tibet when these bowls were made, whilst bells follow different rules in their overtone series than those instruments from which the Diatonic scale is derived.  

Some people have come to me and told me that they have attended a workshop where the leader played them a ‘chakra bowl' stating that it works on all seven chakras. I think that this is highly improbable as the most I have been able to draw out of a bowl are five distinguishable harmonics - whilst we possess seven chakras. That is to say, that with a range of sticks it is possible to make an excellent bowl produce five harmonics – one at a time. Just as with several bodily movements it is possible to focus upon different vocal harmonics produced from out of the total range of tones generated by the fundamental – so, too, with different approaches and sticks, it is possible, with a very good bowl, to produce five different tones. Nonetheless, this still doesn't provide us with enough tones for all of the seven major Chakras. Being as the first overtone is around one octave higher than the fundamental, this provides us with a complete octave+ interval between the first two (Root and Sacral) Chakras with five more to go! Against such a claim it could also be argued that, whilst the law of overtones decrees that the intervallic distance between successive overtones decreases, we might expect the consciousness interval between subsequent Chakras to increase. Nonetheless, it is possible to strike a bowl between meditating upon each chakra - and certain bowls do lend themselves to different forms of meditation practices. It could be that this is what was meant by a chakra bowl working upon all 7 chakras. I should perhaps also state that within these 5,000-odd bowls that I have sorted through, that I have found a total of five Root Chakra bowls, two Sacral Chakra bowls, maybe eight Solar Plexus Chakra bowls, etc - in my experience they are not plentiful! Of course, I am speaking of bowls that strongly affect the chakra in question from a spiritual perspective. 

It was in 1973 that a discarnate Tibetan came to work with me. The name he gave me was that of Lom Phook Trenglam (portrait on left by Frank) and he was alive in Tibet thousands of years before Buddhism became the official religion of Tibet. He came to assist me in my studies at observing the effects of my sacred instruments upon the several levels of our being: - the Etheric, Astral, Mental, and (in the case of certain very sacred Bowls) other even higher planes. It is as a direct result of this period of time spent together, alongside the beneficent effects of using special consecrated instruments handed to me within the sacred tradition of Tibet, and the inborn abilities I already possessed alongside my own past-life efforts, that I have developed the ability to divine, as it were, the inner esoteric nature of such instruments charged, as they are, with certain yogic powers or otherwise potentised by years of spiritual practice by a previous owner (including myself in previous embodiments). Notwithstanding I can state, without fear of equivocation, that there has existed in India a tradition of sacred sound ( Nada Yoga ) for many thousands of years and the movement of peoples between these neighbouring countries makes it not improbable that a tradition concerning divine sound grew up within Tibet also. Followers of the path of divine sound (Nada Yoga) are few, even in India, so I do not claim that such a path is common or general knowledge within either India or Tibet. Whilst working with Sound is associated with the highest and final level of yogic practice and would have therefore been kept secret. It is not a path suitable for everyone although the incoming Seventh Ray energy has been associated with Mantra and thus sacred sound.

Nada Yoga concerns itself with both inaudible and audible sound and therefore some of its practitioners produce audible sounds or are performing musicians.  Being as certain bowls were undoubtedly used for meditation (including, in some cases, sound meditation) it cannot be assumed that every monastery used them, whilst certain schools of Buddhism would probably possess little knowledge concerning the bowls at all - especially as the bowls generally tend to be associated with the pre-Buddhist and more shamanic faith of Bon ever since evidence was found in 1938 during an excavation of an old Bon Temple dated back to 2,400 BC substantiating the belief that the bowls were used for their religious purposes. Very little of the pure Bon exists today. Persecution of the Bon by Buddhists and Buddhists by Bon has taken place over the centuries and whilst Buddhism was the state religion for centuries the Bon have generally adjusted their path to conform closely to the Buddhist path (being closest to that of the Nyingmapa - or Red Hat Sect). I believe that the method for working with sound preferred by lamas is that of mantra whilst it is also the case that there are different schools of chanting within Tibetan Buddhism. I have been told that, according to certain Tibetan lamas, texts do exist regarding following sound (including working with bowls) but that few can read or decipher them, whilst I am equally certain that there would have been an oral tradition regarding this pathway, whereas I am also convinced that teaching comes from entering into spiritual communion with the esoteric sound world of the bowls themselves. However, such initiatic procedures must obey the ancient laws of the spiritual path as followed by countless individuals throughout the ages within all genuine initiatic schools (in all faiths and countries) and so it is in abiding by these laws that we can safely follow this ancient path.

In order to elaborate further how we may translate the qualities of certain of these special bowls into a form of language more accessible to us, I shall elucidate by means of the correspondences found to exist within the several energies described inside the ancient science of astrology. To turn to the science of astrology is not a deviation but rather a route derived in an entirely related and organic manner, because the bowls are stated as being made of an alloy consisting of the seven metals of the seven planets. Therefore, we can state that the bowls convey something of the energies of the seven planets, via the metals that the ancients associated with those seven planets, that form the constitution of the bowl concerned – each bowl is unique - this in contradistinction with Glass Bowls (or so-called crystal bowls – perhaps so named in order to conjure the false image that they are made from actual whole crystals) which, being comprised of silicon, might be said to channel the energies of our earth planet, or at least to resonate with earth. Metals are said to be extra-terrestrial in origin and therefore lend themselves more readily to being considered as messengers from realms beyond the earthly condition. I also believe that the majority of bowls may be made of Five Metals as this would harmonise with the various five-fold systems in Tibetan Buddhism - the Five Dhyani Buddhas, the Five Dakinis, the Five Chakras, the Five-fold construction of the Stupa, the Five directions of the Mandala, etc, whilst special bowls might include Gold and Silver. The Chinese have their Five Planets for the Five Elements, the Hindus have their Seven-fold Chakra system whilst they also have their Nine Planets, which nine are considered as deities in Hinduism.  As the ancients built sacred monuments (Pyramids, etc) or organised their social structure (Chinese) in an attempt to align this material world with that of the Stars (Heaven world), so, too, the bowl makers, as part of their efforts to make their bowls sacred, may have sought to include Five, Seven, Nine, or Twelve metals into their bowls.

The original purpose for creating the crystal bowls had nothing to do with sound, whilst it is also true to say that they are not made as musical instruments and so they don't always accurately produce the note that is claimed for them. Undoubtedly they do produce a loud tone but with very few harmonics because of the lack of elasticity of the material from which they are constructed. The popular system that attributes our 7 Chakras to the 7 (white) notes produced upon our equal-tempered diatonic musical scale fails to take into account the fact that our Chakras have been with us from the very beginning whilst the diatonic scale has only been around a few thousands years whilst our current equal-tempered system is completely out-of-tune with Nature (presuming that our Chakras are in-tune with Nature) - that is to say with the Laws of Sound displayed within Nature.

Reflecting that crystal bowls are constructed of synthetic crystal that is crushed and then reconstituted, whilst Singing Bowls are made of extra-terrestrial metals traditionally gathered from mountain streams and then transformed through the sacred element of Fire and then informed by the energies of the shamanic smiths / metalworkers who hammered the sacred bowls into shape, whilst chanting the sacred names of the deities, leaves me with little choice but to prefer these metal Singing Bowls over and above the crystal bowls .  Certain recent innovations in the production of crystal bowls includes incorporating certain metals, gold, etc, and crystal bowl practitioners report a discernable difference in the sound when metals are present!  Whilst it is undoubtedly possible to psychically charge the crystal bowls with certain energies (as with any lifeless object), I prefer the Taoist path (of reducing friction) in the form of working with materials that are already vibrating in-tune with the spiritual energies I am seeking to make available to souls on earth.

Now to elaborate further regarding the astrological key to the music of the spheres found within the singing bowls. At a certain stage of spiritual unfoldment it is said that each one of us begins to specialise somewhat and start to evolve along one planetary Ray or influence. Thus, for instance, one of us might choose to unfold along the Martian Ray – the Red Ray. Each planetary Ray brings certain spiritual qualities into the soul whilst at the same time bringing specific challenges too in order to unfold, and so develop the qualities of, that planetary Ray. For instance, one of the qualities of Mars, for those unfolding along that particular Ray, is that of Courage. And so we can appreciate the significance of the bowls containing these metals of the seven planets in varying degrees alongside their increased suitability for a form of healing that is more focussed upon the soul and especially as this is affected by the learning of spiritual or soul lessons along any one of these planetary Rays. Just as a person might choose to wear a copper bracelet, in order to bring the energies of Venus closer into their aura and being, so too, there is less friction involved, for the bowls containing the planetary metals, to resonate with the spiritual qualities of the planets and so be a resonant vehicle for a planetary Ray.

In my own experience, there are two ways in which a metal can most obviously predominate within a bowl: and this is either Silver (for the Moon) or Gold (for the Sun). Whilst, in such cases, a predominance of one of these metals can actually be heard within the quality of the sound of the bowl itself, yet it can also be felt, upon a more subtle level, to be manifesting (or actualising the facilitation of) the qualities of either the Sun or the Moon (Male or Female respectively). It must also be mentioned that Meteorite may also be used on occasion, either by being added to the seven metals or as a replacement for Iron within the alloy, and in my own experience, when Meteorite is present it brings another quality to the manifestation of the spiritual energy, one that is less human and more extra-terrestrial in its vibration. In some scientific schools of thought, all of the metals that go into making the bowls are said to be of extra-terrestrial origin, whilst it must be remembered that in Chinese acupuncture the element of Metal correlates with the divine. Therefore, Metal singing bowls might almost be said to be the gift of the gods. I should like to add that it is also my experience that those potent instruments containing meteorite carry rare energies that I mostly associated with spiritual initiations. Around the time that Buddhism entered into China, Taoism was in its second phase, which included alchemical elements. One of the primary alchemical symbols is that of turning base metal (Lead) into Gold. Therefore, it is not improbable that something of this alchemical lore entered into Tibet, whilst the making of meditation bells dates back 4,000 years to neighbouring China and we cannot rule out phases of experimentation within this period leading to discoveries that successfully permit the merging of alchemical lore with the art of bell making.  

The colour of each bowl is found to vary and this is due to each bowl being an individual admixture of the quantities of each metal (sometimes, e.g. with respect to the metal gold, there may only be trace-elements) within its alloy and so it is that certain planetary metals might come to the fore, bringing with them the soul qualities of the planet(s) concerned, which will be found to predominate in the sound character of the bowl in question. However, it is also true that aging alters the colour of the individual bowl too.

The Seven Metals (for Five Metals remove Gold & Silver) said to be present within the alloy of Tibetan Singing Bowls are: -

GOLD Sun Leo

SILVER Moon Cancer

MERCURY Mercury Gemini/Virgo

COPPER Venus Taurus/Libra

IRON Mars Aries/Scorpio

TIN Jupiter Sagittarius/Pisces

LEAD Saturn Capricorn/Aquarius

It is moreover sometimes said that certain of these metals may only be present as trace elements within particular individual bowls. There is quite considerable variety found to exist regarding the colour of each bowl, within the range of different bowls, which is derived from the combination of the amounts of metals present in the alloy of each bowl. Certain sources speak of nine metals and when this is the case we include Zinc and Nickel - whilst Antimony is used to replace lead, being as it is a more readily available part of the lead family. However, Rain Gray asserts that metallurgical analysis at the British Museum has resulted in 12 elements being found in Singing Bowls: silver, nickel, copper, zinc, antimony, tin, lead, cobalt, bismuth, arsenic, cadmium and iron.