The Gong is Ancient and of Unknown origin.
It was first mentioned
in the 6 century in China near Tibet.
The Chinese say it came to them from Afghanistan where
it was used in Buddhist rituals. Or in the Bronze Age 3,000 to 2,000 BC.
Gong comes from the
word “Bonang”.
The Gong is a Percussion healing instrument.
The Gong is an instrument that constantly moves energy and change in frequencies from breath to breath.
There is a distinct difference in playing the Gong as a musical Instrument and as a healing and transformative instrument
and requires different methods.
The Gong is not a musical instrument it is considered the surreal
Sound of God.
Playing the Gong is really an expression of the intuitive state of the player.
Each one is unique.
The Gong is played alone…its voice being so powerful it may
only be joined with other Gongs.
One does not play to please the listeners…the player has
to tune into the Buddhic Mind…the Discerning intelligence so each stroke of the mallet is a perfect sequence played
within the Now Moment.
The Gong is an instrument being classified as a “Self Sounder”.
It is it’s own source of Frequency Vibrations.
The ability of the Gong to create and external
sound so unique to each listener that the mind is enveloped in a state of Stillness. Creating a meditative State.
The Freq. of the Gong has the ability to still the mind, which leads to the first state of nada Yoga…NOTHINGNESS.
The Gong has the ability to overcome consciousness.
It is said that
the mind must surrender to the Gong within a min. and a half.
Surrendering the lower mind…letting
go…and entering the state of Nothingness can lead to inner awareness of visions. Gong Yoga uses musical sound to merge
the consciousness with Spirit.
The Gong is used in Therapeutic Healing and
in conjunction with Yoga Meditation.
Gong Yoga first came about in the 14th century.
In order to understand Gong Yoga we must be aware of the 5 Sheaths of the Body.
The Body has 5 Layer enveloping you.
1 The Physical Body
2
Your Energy Body (which is the Breath and vital body).
3 The Emotional Body. (that which processes
mundane thoughts and feeling…this body can be accessed through the use of Mantra and Sacred Sound).
4 The Body of Knowledge. This body is affected through mediation and the Bliss Body.
5
The Meditative Mind. This layer resides at our core and True Being. The Body Of Bliss. The Bliss Body is experienced by the
blending and uniting of all 5 sheaths.
The Sound of the Gong affects
the Emotional Body and is the midway point between the Physical and the Vital (breath) and the Knowledge Body.
The Gong Heals and Strengthens the Emotional Body. It brings Emotional release especially when heard the first time.
Crying, Laughing, Love, Fear, Bliss can be experienced.
Eventually the Emotional Body interacts
with the Sound Freq. The Emotional state begins to reach a neutral zone called the Zero Point.
From
this point of achievement one can reach a meditative state or Bliss state.
The Gong has the ability
to awaken the Buddhic Mind..discerning intelligence.
This can be achieved
especially at the moment of silence when the Gong momentarily stops. When the listener experiences “Oneness” in
the “Stillness” when real is discerned from the imagined.
Attaining to Bliss via the
Gong is to allow the merger into the all encompassing sound reflecting that their very existence comes from the Causal Center
if the External Soul.
All Five Bodies can interact with the Sound of the Gong.
“ The Gong and the Meridians”
The meridians are the energy channels that carry Prana, Reiki, or The Vital life Force being the very essence
For good health and spiritual awareness.
The Gong has the ability to clear the Meridians
of any blockages.
Healing with the Gong increases the Vital Force.
When
Prana, Reiki flows more freely through the unblocked meridians the Chakras are balanced, strengthened and filled with Light.
In order to unblock the Meridians while the Gong is being played The Breath is employed. The Breath is the All Powerful
asset to be used in working with energy channels.
Yoga Breathing is used here.
One such Yoga breath is Alternative Nostril Breathing.
This Breath Yoga works on the
two major Nadis.
The Ida, Pingala and the two hemispheres of the brain. When coupled with the
Gong frequencies balance if obtained between the Sympathetic and para-sympathetic nervous systems.
The
best position for the Gong listener is to sit upright in a meditative posture..spine straight if possible.
If this is not comfortable the listener should sit or lie down.
“The
Gong and The Chakras”
Each Chakra has it’s own freq. vibration.
The first Chakra…The Sound Freq. is
1. Lam
2. Vam
3. Ram
4. Yam
5. Ham
6. Aum
7. Silence
Because of the intimate relationship between sound freq. and Chakras the Gong
is a most powerful instrument for the balancing and opening the energy flow through them.
The
Gong is played with a very wide range of Complex freq. patterns…. therefore the charkas begin to open into a natural
resonance.
An untold number of notes are being played simultaneously until the exact melody is
struck for each individual Chakra.
The Gong has been used by ancient cultures to awaken the 6th
Chakra…the intuitive center to foretell the future.
Also the Gong was used at the time
of dying to open the 7th Crown Chakra…this being the exit point of the soul to leave the body at the time
of passing over.
It helped to make the passing easier.
The 7thChakra is the gateway to divine guidance..
The 6th the 3rd
eye is prophesy.
As the blocked Chakra opens one an experience:
1
Deep sighing
2 Humming
3 Laughing
4 Crying
5 Coughing
6 Internal Light in the 3rd eye or a blissful connection to the
7thcharka.
“Kundalini Yoga and The Gong”
The Gong is the first sound of the Universe…the basic Creative Sound.
In Kundalini
Yuga there is a resonance between the use of Mantra and Music.
Kundalini Yoga is based upon the
sound current and the Power of the Word, Mantra and the vibration of the infinite.
Meditating
on the Primal Sound…the unseen and the seen.
The unheard and the heard…and the un-feelable
to be Felt.
The Gong is the only instrument best used to represent the Primal Sound of the Creator
being sent forth into
Cosmic Root Substance from which all Creation is derived.
The Gong
during Kundlini Yoga can be played as part of the meditation or after the series of Breathing techniques. These techniques
are the best way to prepare the Mind and Body to experience the Gong.
1. The Player of the Gong
will attune himself to the Power of sound of the Gong.
This allows for a type of symbiosis relationship
where they play each other.
2. A Centering Prayer is performed.
This
can be a Mantra also. The playing is then started.
“Gong and Relaxation”
The Gong can be played to create
relaxation in several different ways.
1 A “Hypnotic Pulsing”.
2
Tension and Stress can be removed by what is called
a Build and Release Cycle.
To attain to a deep relaxation the Gong is played SOFTLY.
“Gong and Mantras”
Gong
and mantras may be done together to create a synergistic effect.
A Mantra such as the OM can be
played while playing the Gong at a very low level.
As the mantra is playing the Gong sound builds
and subsides so that the mantra fades in and out of the consciousness of the listener.
“Gong PranaYama”
The Gong moves prana…vital energy through the body
and can be used to enhance the breathing practices.
The Gong is used as a signal for each stage
during the inhale, retention and exhale breath.
Inhale ..hold until the Gong
Exhale until the Gong…hold
Gong…Inhale.
The
Gong can be played during the time of retention or exhale to release deep fears.
“Gong Meditation”
Listening to the Gong in a relaxed state will induce a meditative state.
Sit Upright
and use the Pranayama breath before the meditation.
Focus on the 3rdeye….breath
slowly and consciously do the Pran Badha Mudra.
This locks the prans in the central channel of
the spine and intensifies the sound of the Gong.
This is done from 3-11 minutes and then 3 to
11 min of
Relaxation is done. (more can be done)
On the Higher Chakra
Centers… Pulsing the Gong is used.
The Build and Release cycles work more on the Physical
and Lower Chakras.
Before the player begins and it may be
the first time for the listener they should be told to relax into the sound and use the breath to allow the experience to
be received. The Gong should be softly played for about a min. to acquaint the listener to the sound.
After
the session is over they are slowly to be brought out and relax.
“Using The Gong For Healing”
The Gong when played stimulates the Physical
Body first...acting on the surface of the skin. The sound stimulates the body’s dermatomes which extend from the skin
extending from the spine throughout the entire body.
Through the nerves these skin areas are connected
to different organs of the body…therefore connected to the corresponding segments of the spinal cord.
The Gong will produce this effect if played within a close proximity up to the distance of 6 feet of the person being
healed.
Low Freq. sound waves completely encase the body in a Sonic Envelope.
The Gong excels in relieving headaches and Migraines.
Relives neck pain.
Menstrual Problems.
Chest and Upper Respiratory problems.
Ankle
sprains and Animal sprain healings are accelerated with the Gong.
It stimulates the circulation
on a physical level because of the wide range of Frequencies having the ability to stimulate the nerve endings.
It is especially helpful in injuries where nerve damage has occurred.
Many illnesses
are a result of Emotional Stress.
The Gong releases a large amount of negative emotional blockages.
The glandular system is strengthened due to the fact of the Pituitary Gland being directly effected by the Gong Frequency
and in turn helps to balance the entire Glandular System.
It helps with Digestion and Elimination.
All this in turn affects the Mind.
In many cultures the Gong is viewed as a Physical
and Spiritual tool in effecting a “Cure”.
It is therefore also used in the treatment
of mental disorders due to producing a trans like state.
It is also used for Autistic Children.
But….The Gong must be used with caution for healing and therapy because it is a very Powerful Transformation
Instrument.
The Sound of the Gong can be destructive as well as healing.
By simply striking the Gong harshly during a session may
be harmful. It is an instrument
that must be used with precise intent and understanding.
At Duke University research has proven
the use of substance abuse and addictive behavior leads to a spiritual
disconnection.
The Gong has been used to induce a meditative state and forces the mind of those who have been attached to compulsive
and habitual patterns.
A spiritual healing through God.
It offers
the addicted person to reach a so called “High”
without drugs.
For many years the Gong has been used in programs for recovering Drug addicts to rebuild the nervous system and to
open to their Spiritual Connection.
The Joint Commission on Accreditation of Healthcare Org.
gave the Gong yoga its highest commendation with 91% recovery rate.
Gong healing due
it’s being a Freq. Healing tool is emerging in the fields of Music Therapy, Chiropractic Care
And
Spiritual Counseling.
Gong therapy may be done with the many different Yoga applications but it
is the Combination of both offers the best results.
When doing a Healing Session…evaluation should first be done. Many things must to taken into consideration.
Medications, injuries and especially if one is Epileptic.
This is
why the Gong should first be played a few min. for the listener to determine if they feel comfortable with the Sound.
1 Intent.
Be aware of your body…Right Side the Left Side , Front and back.
2 Prepare for the Sound.
3 Mention what may be expected…crying,
laughing etc.
You may get visions…visualization develops concentration and dissolves distinctions
between the conscious and unconscious mind.
4 Relax and Breath.
Be aware of your breath. Breath Prana into every cell of your body. Be aware of Feelings and Body Sensations. Of the Emotions
and relax and integrate the brain hemispheres. Focus on direct opposites….Love- Fear Joy- Sadness Dark- Light.
5 One can move if need be.
6 Take hearing Aids out.
“ Playing The Gong”
The Gong is honored as the messenger of the Gods.
When the Gong is played a direct strike to the Gong is never done. It produces a shattering sound and destroys the
overtone and deadens movement.
It will produce a shattering sound and will destroy the over-tones
and deaden the movement.
Without an applied sequence of hits you
are just banging
the Gong.
The Gong to me is likened to a Dragon Ride
to Enlightenment.
The Gong is a Union with Primal Sound.
Sound has
always been used to connect to God from Ancient Times.
The Creator spoke the “Word”
to create the beginning
of All Things.
Sound and Mantra the first
practices of Ancient Texts.
No matter what part this Journey takes us upon in this life..
our ultimate goal is to transform out BEING vibration and
sound in order to raise our
Frequencies and consciousness with the Creators “Word” uttered in the beginning.
That
sound which many do believe to be the “OM”…..
that which started the creation
of All That Is.
Spirit, Energy, Matter, Soul, Nature and the Body of Life.
This Universal Sound binds all the Universe and Dimensions together.
Yogis call this
sound NADA….Rushing.
The many different Mudras and yoga positions and breathing open the
mind and body to be receptive to the Sound of the Gong frequencies.
The musical sound of the
Gong is used to expand meditation, clear the Meridians and move the Life Force
(that being Reiki
or Prana)…through the body for healing and raising the frequencies of the consciousness for Transformation.
The Gong is an Agent of Transformation through its frequencies.
The Gong sound effects
and even changes the Mind, Body and Spirit.
The Gong when struck reaches its initial peak and
then begins to slowly Decay.
When the wave like movement returns it peaks at an even higher frequency
pitch carrying the listener to an even higher state of Being.
A Master Yogi once described the
Gong as “Resound”.
The Gong is not Sound it is Resound …the returning waves
build upon each other to create new and intricate tones upon itself. The Sound of the Gong becomes so complex that the human
mind is unable to categorize it.
The sound of the Gong is unique to each person due to the undertones.
Tones are synthesized within the inner ear of every person by the vibration of the cochlea.
Therefore since this duel sound is produced by the Gong it will take each person on their own individual Journey.
Inner Tones are considered Holistic. It is an experience of the SPIRIT.
There are many different types of Gongs.
Flat Gongs are considered Male and Indefinite
in their Pitch.
Bossed Gongs being raised in the Center are Female and are Definite in Pitch.
A Flat Gong is struck off center.
Bossed and Deep Rimed Gongs are played at the Center.
Gong Making was considered to be most sacred.
Today they are made of 70-80% Copper and
other metals being Nickel, Iron , Zinc, Lead and Tin.
The Metal used to be poured into a mold
and as it cooled was hammered into shape.
When it is fully shaped it is tuned on Both Sides.
Today the Gong is cut from tempered rolled sheets of metal and cut into circular discs. Heated and shaped by hammering.
Then reheated and hammered again in 3-4 months before it is tuned and polished.
Each Gong has
it’s own distinctive Frequency or tuning of Sound. A high quality Gong usually has 12 or more distinctive returning
sound waves.
The Gong may be played in different ways and
for different purposes.
Playing Several Build and Release cycles and will release Fears.
A gentle Pulsing around the heart area of the Gong can release old emotions.
This is
done for 10 –15 min. or 30 –60 min.
Always close the Session by gently bringing Back
the listner.
Mention to Remember the Intention made.
End with a prayer
or mantra.
The Most
Honored Gong is approached as an agent
of Divine Transformation.
On
Mani Padme Hum…..
The
Gong Demonstration and The Dragon
The Gong
can be played for Healing or Percussion.
One at a time or several being
played together at the same time.
Before playing the Gong it has to be Primed…this enables it to
begin vibrating. It is primed ever so lightly.
When the Gong is played there are different opinions…as
to playing the center Bulls Eye …some say it should never be hit. Others do play the center. All do agree thought that
the very outside rim should never be hit.
Each size Gong has it’s own Mallet.
If one wishes…. an
oil can be put on the Rim such as Frankincense or Sandalwood. This adds to the Freq. of the healing session.
There are
different Gongs….The ones I have here are
The WindSong and a Sabian Symphonic. Both 28”.
And a 18”
Windsong.
The WindSong is Higher in Tone…. the Sabian is lower.
I feel the Windsong is more
of a Journey Gong
My Sabian is more of an Emotional Gong.
Both will perform the same task…. but to me it
is on a different tonal frequency.
This is just my personal opinion from working with what I name my Gongs...THE DRAGON
Gongs.When playing these Gongs I see a Golden Dragon ….and by the way it is the Dragons who have been commissioned
by the Higher Forces now to open up the Ley lines of the new Golden Crystalline Ley Line Structures of Mother Earth.
I
can see and feel this Dragon opening up the blockages and realigning the person during a healing….. as
Dragon does
the same with flying through the Tubular Crystalline Grid of Mother Earth.
The Sabian Gong…well this is
a Gong that I feel is likened unto the Kuan Yin energies….
When she is played pure Compassion and the deepest
soul connection is felt. One descends into the deepest caverns of their beings.
Releasing, releasing and releasing!
Information
about Gongs.....
1. Step 1
Find the
right gong. There are more than a dozen kinds of gongs in the world. Some are metal, some are wood, some have raised edges
and "nipples" and others are flat. Each has its own sound and specific uses, so try a few different kind of gongs
so you can find the right instrument to play.
2. Step 2
Find a good percussion or gong teacher. Most expert percussion
teachers will have at least a basic understanding of the Gong. A percussion teacher can give you the basics about rhythm and
how to strike the Gong to produce different sounds.
3. Step 3
Choose the right mallet. Each specific Gong requires
a different kind of mallet to produce the correct sound. Find out what mallet suits the Gong you're using in order to play
the instrument correctly.
4. Step 4
Begin by striking the Gong rhythmically hear the center of the instrument. Gradually
move out towards the circumference of the instrument to learn how different areas of the Gong produce different sounds. The
Gong is a musical instrument of Malay-Javanese origin, which has made its
way into nearly all Asian cultures and even a number of Western cultures. It's uses are as wide as religion ceremonies, yoga
classes and even rock bands, and its cultural appeal seems to have no bounds. Follow these steps to play this ancient and
versatile instrument.Suspended gongs, such as those made by # HYPERLINK "http://artdrum.com/WUHAN_GONG_PAGE.HTM"
Wuhan, # HYPERLINK "http://artdrum.com/GONGS_SABIAN_GONG_PAGE.HTM" \t "_blank"
Sabian & Paiste are used in various settings, including in music, mediation, business meetings and social
events Gong
Mallets and Strikers
Gongs are typically played with Gong
mallets, and sometimes with wooden beaters, bamboo or western style drum sticks. Mallets
usually have heads which are covered in cloth, yarn or natural material. The size of the Gong usually determines
which type of striker a will use. Gongs under 9 inches (and sometimes 10 inches) are played with 1 inch mallets, wooden
beaters or bamboo sticks. Gongs which are 10 inches -12 inches are typically played with small mallets rather than sticks.
Likewise, Gongs which are larger than 12 inches are also almost always played with mallets. As the size of the Gong increases
so does the size of the mallet. However, sometimes a player may choose a unusual size mallet to produce sound or effect,
so they may choose to use an atypical mallet size for their Gong.
It is
most common for Gongs to be played with one mallet or striker. However, playing with
two mallets can be a lot of fun too! Playing with two mallets has certain advantages. Primarily, it is a more
dynamic musical experience. Two mallets enables players to create rhythms and rhythms, which are usually not achieved
with a single mallet or stick. Further, playing rhythms on gongs creates certain harmonics that are usually not achieved
when playing with a single mallet or stick.
Priming
Priming a Gong enables it to begin vibrating. Priming is done by very lightly stroking the
gong with one's mallet. Players will often prime the gong prior to the main stroke. Priming significantly
enhances the sound of the main stroke. The priming stroke is meant to stimulate the gong and create vibrations that
are nearly inaudible to an audience. Priming requires a sensitive touch and is one of the most challenging techniques
for players.
Spinning
Spinning is another fun technique with suspended Gongs. A spin is accomplished by holding
the
Gong by the rope and spinning (or twisting) the Gong in a clockwise or counter-clockwise direction until the rope
is fully twisted. Then the gong is struck and released causing it to spin around and around while resonating simultaneously.
This produces a warping-like sound. The larger the gong, the stronger the warping effect.
Striking
Striking the Gong with a mallet is the most common way by which Gongs are played. Yet there are several ways to
use the mallet. Many Gongs, such as the Chau, Chinese, Wind, Symphonic, Tiger & Zodiac, have many places upon them, which can be struck to produce pleasing and interesting
sounds. For instance, on a Chau gong one may strike the center (bulls-eye), or the first or second ring around the
bulls-eye. Further, one may strike high or low or left or right. And one can create beautiful patterns by
striking different areas of the Gong. The
two most popular stokes are the bounce (direct) strike and the swipe strike. The direct
strike is basic stroke by which you bounce the mallet off the Gong. It generally produces a louder tone as compared
to the swiping stroke.
The swiping stroke is effective in getting, or keeping, the Gong to vibrate while producing a minimum sound from the percussive impact
of the mallet against the Gong. A The volume of the tone is usually quieter than the volume with a direct stroke.
With practice a swipe can produce very good volume while reducing the sound of the impact
of the mallet upon the Gong.
Additional ways to hit the Gong include the
muffled stroke, by which the mallet remains on the Gong upon striking it. In this case the mallet does not swipe or
bounce up off the Gong. Another technique is for a player to tap or swipe the side of the Gong with a stick or handle
of the mallet. This produces a cymbal-like sound.
Exploring
One thing that Gongs are great for is exploration. So, have fun exploring and you will
likely discover fun sounds and interesting techniques. Enjoy the gonging!
