Next in importance after posture comes pranayama, the control of breath. Today we know that each time we inhale, life-giving oxygen is drawn into our bloodstream; each time we exhale, we rid our body of toxic carbon dioxide. But air is also primary to the experience of audible sound.
An ancient story from the Sufi tradition points to the connections between life, breath, body, and music. When the Creator fashioned the human body, the human soul refused to enter because it didn’t want to take on the body’s limitations. The Creator then began to play music. In order to feel the fullness of this music through the senses and receptivity of the human form, the soul was coaxed into the body. The soul continues to receive its life from the Creator by breathing in this music. Indeed, the Divine is continually replenishing our life through the music of our breath.
THOUSANDS OF YEARS AGO, yogis realized that the air we breathe contains prana, a force that invigorates both body and soul. This is why pranayama — the control of prana — is crucial to yoga practice. Learning to regulate this life force holds the keys to optimal health and longevity. Chanting and singing naturally require control of the breath. Conversely, control of the breath enhances our chanting and mantric practice.
Yoga, like Tai Chi and other ancient fitness practices, was developed by observing nature. Yogis noticed that creatures with rapid breathing rates, such as the hummingbird and the rabbit, had shorter life spans; creatures with slower and longer breathing rates, such as the elephant and the tortoise, lived longer. By deliberately manipulating and slowing their own breathing rates, yogis realized that they could increase their life spans, thereby extending their capacity for self-realization. In other words, the proper rhythm, another fundamental aspect of music, is essential to our health and longevity.
YOGIS ALSO OBSERVED a direct association between breathing and emotional states. They noticed that when one is peaceful and content with life, breathing is smooth, evenly paced, and slower. Conversely, when we’re emotionally upset or disturbed, our breathing is jerky, irregular, and rapid. Through experimentation, yogis realized that they could produce a state of contentment by breathing slowly, smoothly, and evenly.
Present-day microbiologist Candice Pert has found in her research that a great deal of unresolved emotional toxicity remains lodged in the upper intestine in the form of “information molecules.”1 Yogic breathing, which seeks to eliminate as much air as possible from the lungs, can help evacuate unwanted emotion from the body. The result is greater clarity and renewed energy. Despite unpleasant experiences and stressful circumstances in our lives, it is possible for us to maintain a happy and peaceful disposition by learning to work with our breath.
Proper intake of breath improves blood circulation and ensures that the blood receives the optimal amount of oxygen. Oxygen supplies the fuel for carrying out the blood’s most important task: defending against diseases and assisting in the healing of wounds. The blood also helps circulate thermal energy around our body. “Breathing correctly is the key to better fitness, muscle strength, stamina, and athletic endurance,” says Dr. Michael Yessis, Ph.D., a fitness writer for Muscle and Fitness Magazine .2
Proper breathing even reduces the threat of cancer; when the oxygen saturation of blood falls, conditions become ripe for the creation of cancer. Oxygen is removed from the arterial blood as it passes through the capillary system. If arterial blood is deficient in oxygen, or if the blood flow is restricted by blocked arteries, then tissues oxygenated by the latter stages of the capillary system may be so deprived of oxygen as to become cancerous.3 Dr. Otto Warburg, in a well-known and often-quoted lecture to Nobel laureates, explains: “All carcinogens impair respiration directly or indirectly by deranging capillary circulation, a statement that is proven by the fact that no cancer cell exists without exhibiting impaired respiration. Deprive a cell of 35 percent of its oxygen for 48 hours and it may become cancerous.”4
Most people have had their breathing checked via a stethoscope during a medical checkup. When listening to a patient’s chest, doctors proceed symmetrically; first they listen to the left side, then the right side in the same region to determine if there’s any difference. Even more interesting, the breathing sounds are categorized according to their location, pitch, intensity, and ratio of inspiration to expiration. Doctors actually listen to the “tone” of our breathing to determine whether we are healthy or ill; obstructions to our breathing reflect obstruction in our optimal energy flow — a point I elaborated on when discussing Shakti Yoga in chapter eight.
When there are no obstructions to the airways in our lungs, normal air movement produces normal breathing sounds. For instance, “vesicular breathing sounds,” the primary normal breathing sounds, are heard throughout most of the lungs. Vesicular breathing is soft and lowpitched, with the inspiratory sounds being longer than the expiratory sounds. “Tracheal breathing sounds,” on the other hand, are usually relatively high-pitched and loud. “Bronchial breathing sounds” are loud, high-pitched, and close to the surface. Finally, there are “bronchovesicular breathing sounds,” which are of intermediate intensity and pitch; in this case, the inspiratory and expiratory sounds are equal in length.5
Obstructions in our airways, caused by such things as constriction, fluid, or hyperexpansion, result in abnormal breathing sounds. Doctors listen for abnormal sounds called “crackles,” which are discontinuous, nonmusical, brief sounds heard more commonly on inspiration. When listening to crackles, doctors pay special attention to their loudness, pitch, duration, number, timing in the respiratory cycle, location, pattern from breath to breath, change after a cough, or shift in position.6
Any musician reading this will immediately realize that we are dealing here with pitch, intensity, and duration, the three fundamental qualities of the musical note that every student of music learns about first. This brings us to the audible breath, which is an important practice for the sound yogi.
FOR THE SOUND YOGI, the audible breath serves as a lens — a magnifying glass through which we can perceive and harmonize the many layers of energy fields within our body. The breath, when made audible, also allows for greater control and manipulation of emotion. Most of all, the sound of breathing helps us contain and work with the sound of the mantra or any other sonic form of yoga. The mingling of breath and sound act as a sort of friction-stick that ignites the fire of devotion.
Hatha yogis will recognize this practice as the ujjai breath. As Yoga of Sound practitioners, we listen intently to the breath so that we can listen and perceive through the breath, even when it is almost imperceptible. This is the key to sound and silence, the contrasts of which open the doors to inner perception.
SIT IN A POSTURE that allows your body to become quiet, still, and relaxed. Breathing naturally, observe your body for a short time. You can now begin to modulate the flow of air as it passes in and out of your lungs by breathing audibly. The secret is to learn to do this with your mouth closed, meaning that you inhale and exhale through your nostrils, but sound is produced in your throat and mouth cavity as follows:
1. Inhaling: When inhaling, modulate the flow of air in your throat by a gentle contraction of the glottis, as I will describe. Slightly drop your lower jaw and allow your tongue to recede slightly into the back of your throat in your upper larynx, pressing it against your tonsils; this process seems to “thicken” the tongue. By experimenting with your tongue, nostrils, glottis, and lower jaw, all functioning in concert, you will be able to regulate the air flowing into your lungs by controlling its passage through your throat; this will produce an audible sound. Your abdomen should be relaxed so that air can flow smoothly into the bottom of your lungs when you begin to inhale. You must also relax your upper body so that your breath can “rise” as you continue your inhalation, and so that you can feel the pressure of the air and energy against your spine as they rise.
2. Exhaling: Exhaling is similar to inhaling, but you can lessen the pressure of your tongue against the back of your throat. You may experiment with moving the tip of your tongue slightly forward, toward your teeth; this releases the pressure in your upper larynx and pushes more air into your mouth cavity, which is where you are controlling the air. While exhaling, use your abdominal muscles to gently push the air out of your lower lungs and into your mouth. Maintain a slight pressure in your throat so that the contracted glottis can regulate the outflowing air. Again, this becomes easy if you breathe audibly, producing a soft sound in your throat as you exhale. The effect is like the sound of an ocean wave. Just remember to keep your mouth closed during the process. Eventually, the sound will be produced by minimal effort and coordination of muscles.
IF YOU ARE UNABLE to figure out how to breathe audibly, you can inhale with your mouth open. The sound will happen naturally. When your lungs are partially filled with air — halfway through your inhalation — gently close your mouth and keep inhaling, while continuing to produce the same sonic effect for the rest of your in-breath. Similarly, when exhaling, begin audibly with your mouth open, then close your mouth midway during your exhalation and continue producing the sound as you complete the breath. Do this as many times as feels comfortable for you. Stop if you feel over-oxygenated; never force your body beyond its natural capacity. Once you get the principle, apply the technique without opening your mouth.
To deepen the experience, listen intently to the sound of your breathing. Be aware of the process by which the sound originates with your breath and then builds up during inhalation. Likewise, try to enter the energy of the sound as it diminishes during exhalation. Observe its disappearance as it tapers off into the silence of your after-breath. Rest in that silence, and through it enter into the depths of your being. Notice how the silence fills you, embraces you, and draws you into its sacred presence. Hold your breath outside yourself for a few moments, then observe the reemergence of breath and sound when you inhale in the presence of that silence. Feel the vibrations caused by your breathing coursing through your body.
THE BREATH is a key element, not only in Hindu yoga practice, but in any spiritual practice, as shown in Buddhist meditation and Christian contemplative prayer. Why? Our breath is the most palpable link between the manifest reality of our physical existence and the unknown world of the spirit. When we observe the breath, we realize that it is not something we own; neither is it something we do. Rather, breathing is continually happening in us all the time. Each breath is a sign that the universe is giving us our existence at this moment. Through its contiguity, we are offered life in all its dimensions. Our breathing also gives us the totality of the present moment as an eternal now — a place from which we can be conscious that each breath is different, new — a fresh affirmation that we are receiving the gift of life.
The perspective that accompanies our breathing instills in us a sense of equality. We are not the only ones given life; that which breathes into us is, at this moment, breathing existence into every living being. The same breath has been breathed by every creature since the beginning of time, and the same breath will sustain life in all creatures yet to be born. In this sense, there is only one breath — one life for all — making our breath a wonderfully unifying and democratic process.
TO REACH THE FULL CAPACITY of our voice, we must learn to maximize the capacity of our lungs and control the flow of our breath, especially during exhalation. We do not use the full capacity of our lungs in normal breathing; most of us take shallow breaths. When we first come into this world, we breathe deeply. Watch a baby’s abdomen and you will immediately see that the lower lungs are well utilized. When we breathe deeply, we are closer to our natural state of being and to the state of yoga. Our breathing changes when we are stressed out. You will notice that fear often acts as a knot, blocking the respiratory tract and causing breathing to become shallow and irregular.
Learning how to consciously breathe into all the areas of our lungs, and how to modulate our breathing effectively, can help us cope with stressful situations and offer us clarity, peace, and renewed energy. Employing all the areas of our lungs also improves our tonal and vocal range considerably, enabling us to produce clear, beautiful pitches in our music, hold steady notes, create vocal ornamentation, and, most important of all, resolve our tones through smooth transitions. These vocal techniques have a direct effect on our consciousness, producing comparable psychological and spiritual conditions, such as single-minded concentration, harmony of being, resolution of anxiety and unwanted emotion, and the transformation of negative energy and thought patterns.
As we reach deep into the spiritual realms of consciousness, our breath functions as a bridge between the known and the unknown, the conscious and unconscious minds, the material and spiritual worlds. The following exercise will help bridge these realms.
HAVING LEARNED to regulate the flow of air in and out of your body, you are now ready to explore the various sections of the lungs that govern your functional energy fields.
The British were well known for their policy of “divide and rule,” a method that enabled them to control a large, dynamic population of cultures and religious sects in India. Hindus don’t remember this principle fondly, but we will employ a similar process with our breathing to effectively manage and control the complex energies that comprise our being.
Sectional breathing divides the lungs into three sections, which are worked with independently. The lower lungs control the root chakra, the sexual center, and the abdominal center; the mid-lung harmonizes the emotional center in the heart chakra; and the upper lung governs our expressive and perceptive sensitivities, namely the throat chakra and the command center between the eyebrows. When all three sections of the lungs are utilized, all six chakras are balanced and harmonized. Such complete breathing balances the energy and music of the body, guiding our streamlined energies toward the state of samadhi and enlightenment — the seventh chakra at the crown of the head.
For the following breathing exercises, you may sit in a meditation posture: cross-legged, between your heels, or on a chair.
THE LOWER LUNGS can be used to tap into three basic levels of consciousness, associated with the first three chakras. First there is primal energy, associated with the base of the spine; next, the creative energy and passion linked to the genitals; and finally, organizational and motivational energy centered in the abdomen. These three spiritual powers — drive, creativity, and organization — are needed in our everyday working world as much as they are needed in the spiritual life.
IN POWER BREATHING, you will learn to breathe into the lowest regions of your lungs so that your abdomen is pushed outward. It is important to relax completely so that you can feel the action of your breath against your genitals and farther below, around the rectum, the base of the spine, and even in the lower back and hips. To experience your breath in these areas as you inhale gives a sense of security, vigor, and courage. When exhaling, gently contract your abdominal muscles and smoothly expel the air from your lower lungs. This is accomplished by coordinating the abdominal contraction with the regulation of breath in your throat. Obviously, you are employing the audible breath here, a technique you should use as much as possible. I also encourage you to exhale with your mouth open, making the audible sound “ah,” and using the air in the lowest part of your lungs to create the sound. Then return to audible breathing with your mouth closed.
TO BETTER CONTROL your abdominal muscles, gently touch your fingertips to your navel. Maintain this light contact as you expand and contract your lower abdominal muscles. (Be careful not to push your abdomen with your fingertips during the contraction, and avoid obstructing the inflation of your abdominal area when expanding the lower lungs.) Once you get the hang of it, you can rest your hands on your knees and completely relax your body while you engage in this breathing technique. You can also place your palms on the sides of your hips to make sure the pressure is distributed all around your lower torso. When you coordinate your abdominal muscles with your breathing, you will become aware of a pressure building up in your pelvic area. This energy can be used sexually, or channeled farther up the spine to facilitate other ecstatic states.
IN THIS EXERCISE, you will isolate your breathing in your mid-lung area — around your solar plexus, which functions as the center point of your psycho-spiritual network and the seat of your emotional being. Cultures around the world regard this center as a place of balance and integrity because of its location close to the heart. Here our material and spiritual natures meet, and our masculine and feminine aspects find union.
Love, perception, and wisdom find their fulfillment when they come together in the heart. The heart is also the most obvious receptor and transmitter of energy among the chakras. It is easily “touched” when we are emotionally affected; it can be “gazed into” by the perceptive soul; and it can be “bared” to reveal the secrets of our innermost being to someone we trust. St. Benedict, the great father of Western monasticism (530 A.D.), invites his students to live the monastic rule by listening and inclining the ear of their hearts.7 The word “courage,” taken from the French, means “great heart.” In so many ways, we can see that the totality of our human experience culminates in the heart. It is indeed the heart that best qualifies our essential nature: love.
EASE YOURSELF into your meditation position and become aware of your body as you breathe naturally. Focus your attention in the middle of your chest and observe the action of your breathing in that region. Take a slow, deep breath into your mid-chest and expand the space around your solar plexus, but avoid breathing into the top of your lungs.
TO GET A GOOD SENSE of how this is done, place your palms on the sides of your rib cage, midway between your hips and armpits. Press your thumbs against your back, and use the other fingers to hug the front of your rib cage. As you adjust your body to hold the position in comfort, you will naturally pick up on the action of your breathing in the mid-chest area, even if you do not breathe deeply. Send your breath into your palms, and you will notice your rib cage expanding outward when you breathe in, and returning to its original position when you breathe out. The effect is like playing an accordion.
REGULATE THE FLOW of breath in your throat and listen to its sound. You are also invited to use the audible sound “oh” (with your mouth open) on your exhalation. Later, close your mouth and use the audible breath to control airflow on the exhale. Rest whenever you need to, and resume the practice when you feel energized. Stay connected, and listen to what your body is telling you. Don’t get too carried away by the emotional or spiritual states produced by your breathing practices; keep your mind quiet and free from all deliberate activity. This doesn’t mean that you won’t have any thoughts at all, but stay connected with your breathing experience by constantly withdrawing from any involvement with your mental processes.
Adham pranayam: Upper-Lung or Brain-Stimulating Breathing
THE REGION of the upper chest governs the throat center (associated with imagination, creativity, self-expression, and speech) and the wisdom center located between the eyebrows (associated with intuitive perception, cognitive knowledge, and the intellect). Upper-chest breathing stimulates the brain and all the creative, expressive, and perceptive powers of the higher Self.
You may have noticed that your upper chest becomes constricted when you are agitated or anxious, just as your abdomen tightens up when you are afraid. Learning to work with your breathing in your upper chest helps you channel your energies upward into your throat and head, then direct them toward the cosmic order and harmony of the universe known as rta — an expanded state that dissipates fear and anxiety. When done successfully, directing your energy into your head can generate clarity, receptivity, and deep insight. This realized energy can then be channeled downward to infuse your chakras with its special qualities. You will experience this when you combine all the sections of your lungs together in the great yogic breath.
SIT COMFORTABLY in your meditation posture and isolate your breathing in your upper chest, just below your collarbone, by keeping the middle and lower sections of your lungs relaxed. Next, breathe expansively into the upper region of your lungs so that your shoulder blades lift and your chest puffs up, and you look like a soldier on parade. You can also deliberately raise your shoulder blades to accommodate your breath in your upper chest and under your armpits. Once you understand the principle, allow your breathing to facilitate the movement.
YOU CAN FURTHER assist the process by placing your fingertips lightly on your upper chest or on your upper back, and allowing the contact of your fingertips with your body to guide you. You may also place your hands on your lower hips and observe the up-and-down movement of your shoulders as you breathe in and out. You will feel a rush of energy to your head as you do this.
Above all, do not forget to listen as you breathe audibly. Also, humming aloud on your exhalation will make your cranial area reverberate.
•
HAVING MASTERED these lung compartments independently, you will find it easy to perform the full-cycle breathing that employs all three of these regions in succession. If you have difficulty with full-cycle breathing, return to working with each section. Later, you can reapply the techniques to the complete breath known as the “great yogic breath,” which we will explore in chapter fourteen.
When we study the science of breath, the first thing we notice is that breath is audible; it is a word in itself, for what we call “word” is only a more pronounced utterance of breath fashioned by the mouth and tongue. In the capacity of the mouth, breath becomes voice, and therefore the original condition of a word is breath. If we said, “First was the breath,” it would be the same as saying, “In the beginning was the word.”
Hazrat Inayat Khanv8