Tibetan Bowls: objects-healers and musical instruments

25 Nov

Where did the Tibetan singing bowls? To this day, these questions are many. The story of these bowls full of mysteries. What are these amazing things? Tibetan singing bowls – an ancient tool of meditation, acquiring in recent years become increasingly popular. Unique fusion of metals used to produce singing bowls, can get sound much different from playing all other musical instruments. Similar sound emitted synthesizers, but the sound of Tibetan bowls, in contrast to the synthesizer, “loaded” due to friction of wood on metal. It is believed that the “charge” has healing properties, and the sounds of singing bowls are capable of increasing the susceptibility of certain glands, performing the role of a “switch” between the sympathetic and parasympathetic nervous sistemami.U some listeners the sounds of Tibetan bowls often cause altered states of consciousness. So, can sometimes get the feeling of a sort of “weightlessness”, a “hung” and emptiness. The sound of Tibetan singing bowls is composed of an infinite stream of overtones which form a sound spiral, revolving around the “real” (main audible) sound. The basis of this interaction is the overtone wave principle: two audio streams meet to form a standing wave and dissolve in the “ocean” sounds. In contrast to the mechanical repetition that is characteristic of minimalism, here each such meeting – a separate, unique, event, every little bit, almost imperceptibly different from the others, the consciousness of listeners keen to journey into the sound space, seemingly almost static, but in reality is in the infinite movement. Thus, the music of singing bowls full of energy and is suitable for meditation. How to play the singing bowls? Cup should be placed on a special pillow or on the elongated fingers of the hand or fist. It is important to take into account that the contact area of the bowl with a pillow or arm was the lowest, but the bowl does not move. In the other hand take the stick (a wooden stick of hard wood), and lead them along the outer edge of the bowl. The walls of the bowls begin to vibrate, and she begins to “sing”. Above all, what should pursue – do not interrupt the game with a stick on the surface of the bowl. The fact that the loud sound, and as a result – a strong vibration stick is difficult to keep on cup

The sound of Tibetan bowls “loaded” due to friction of wood on metal

Bowls of various shapes and with varying wall thickness sound different. Too weak pressure can not force the bowl to sound too much – will turn off the sound of the bowl. The dynamics of sound varies speed stick on the cup and force nazhima.Chashi with thick walls provide clear, but poor sound timbre. Playing on them is easier because the hand feels better than metal. Bowls with thin walls give a very beautiful and rich, but to play them significantly more difficult, because they are more sensitive to hand and stiku.Nesmotrya out

Bowls that are set to one pitch, playing for them, you can extract the sounds of different heights. The fact that the edges of bowls “sing” on the high notes, but the closer to the bottom you can extract all the lower sounds. This is very good to hear the case of deep thin-walled bowls. In some cases, the bowl may sound like a bell. To do this, just stick strikes the wall of the bowl. This sound is used in the derivation of rights from meditation. How to record singing bowls? The possibility of making sound of singing bowls significantly affect the weight and stick coating. Stick to be selected by the size of the bowl. For large and thin-walled bowls of the most rich and powerful sound ensures heavy sticks. It will be predominantly low-frequency, and very hollow at high volumes. To enrich the sound of the higher overtones, slightly to hit the edge of the bowl the other sticks.

Singing bowls: a unique miracle in the world of sounds

Bowls with thick walls are more demanding to the weight stick – from a small 2-inch bowl is very difficult to extract the sound of heavy sticks. Light pine stick length of 4.5 inches derives from the small bowls of beautiful, but obertonalno poor singing. From large bowls of light sticks can be made only feeble high humming – perhaps in this combination can be found useful, but it is definitely “an unequal marriage.” Record Bowls easier if you stick okleit suede – the rustling of the touch wood to metal (especially in the case of thin-walled cups) strongly penetrates into microphones and prevents the basic sound. However suede extinguishes all the minor fluctuations in the walls of the bowl, and draw from the last upper overtone becomes absolutely impossible. Conclusion: large bowl and a heavy stick pasted chamois – ideal for creating a powerful surround roar. Higher sounds recommended to append by smaller bowls and lighter stikov.Variant record bowls in the studio – a stereo pair of good condenser microphones, removing the sound from the walls of bowls. The microphone, placed on top, “hear” not so much a cup, as the rustling stick to chashe.Suschestvuet another interesting technique of sound production – “wow-wow-effect”. To reach it, sounding the bowl to bring to an edge to the very mouth of the singer. Artist, in turn, closes the throat and tongue lips changing the volume of the mouth, creating the same “wow-wow-effect”. This technique is very effective (especially for the audience), but nice and bright sounds only half as thin chashah.Esli bowl filled with water, play will be easier: vibrations are transmitted into the water, and even at high volume will not stick bounce off the walls. Of course, with several changes timbre, as the number of upper harmonics decrease.

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Posted by on November 25, 2009 in Historical


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