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What is sound healing therapy?

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Tony Nec
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Tony Nec

Principal at Sound Healing Academy
Tony has over 25 years experience as a therapist, coach and trainer.He runs the Sound Healing Academy and has a busy practice in Cornwall, England.
Tony Nec
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Sound healing therapy is an ancient spiritual system that stretches back to the far reaches of human history.  Humanity’s belief in sound healing as a creative force is as old as time. 

sound healing therapyCreation myths stretch across the world and although their stories may differ, what often binds them together is therapeutic sound.  In ancient Indian texts, OM (AUM) is described as the sound of creation.  John, in the Christian Bible, tells of the beginning coming from the Word. 

This illustrates the extent to which ancient humans not only understood sacred sounds ’ universal possibilities, but also the immense potential therapeutic sound has as a powerful healing force.

Throughout human history sound healing therapy has intimately intertwined into our daily practices, meditations, celebrations, rites of passage and sacred ceremonies.  It has been revered as being an extremely effective and adaptable tool and as such many and varied instruments have been created.

Shaman, priest, priestess, healer, masters and medicine men and women from the four corners of the earth have worked with sound in sacred ways since the ancient days of humanity. 

We can see from this that it is no coincidence then that in today’s modern world sacred and ancient sound instruments continue to have a renewed sense of interest. Spiritual seekers who are often searching for answers to life that cannot be found in the material world are beginning once more to hear the call of sound healing therapy and now more than ever they are using sound as an aid to meditation, as a holistic healing tool and to connect to the spiritual side of life.

Scientifically it is theorised that sound is all around us and in each moment we are totally surrounded by sounds.  These sounds therefore must have cause and effect upon our body, mind and spirit, both positively and negatively, manifesting both ease and dis-ease.  I have found that it is the pure clear vibrations and harmonics of therapeutic sound instruments that have the unique capacity to restore our natural resonance and bring us back into harmonic balance.

Over the last decade or so I have come to understand more and more how wonderful therapeutic sound is.  Through the ancient teachings of therapeutic sound I have reached the point where I know from deep within myself just how powerful a healing tool therapeutic sound can be.  I have the wisdom within my being to bow down in reverence to the ancient masters who more than anyone understood the enormous power and potential for the world and all its inhabitants in sound healing therapy.

Therapeutic sound has always been used to heal and bring balance to the many aspects of our being.  It has been linked with all the great spiritual philosophies of the world.  It has been woven into the fabric of humanity through civilisations and individuals who have spent lifetimes spreading therapeutic sounds to all those who had the wisdom within to feel its immense potential for spiritual transformation, healing and inner and outer equilibrium.    

 

Sound Therapy With Gongs

by

Tony Nec
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Tony Nec

Principal at Sound Healing Academy
Tony has over 25 years experience as a therapist, coach and trainer.He runs the Sound Healing Academy and has a busy practice in Cornwall, England.
Tony Nec
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INTRODUCTION TO SOUND THERAPY WITH GONGS

Gongs can be used therapeutically either as a stand-alone instrument or they can be combined with other sound tools as part of a harmonic sound therapy session.  Working and playing gongs either that are hand held and / or placed on a specially made stand can create sounds which are deeply healing, soothing and transformational as they penetrate every aspect of our being.

sound healing with gongs

Gong therapy, gong baths and gongs as interlaced into sound therapy can be an extremely transformational tool when working with clients, groups and the self.  Gongs create tones that are absolutely amazing.

Gongs of whatever size get to the very heart of the client and allow deep seated emotional, mental, physical and psychological issues to be brought to the surface in a gently therapeutic way, allowing these issues to be seen from an impartial and non-judgemental viewpoint.

The gong’s sounds can be heard in a multitude of differing forms, energies, sounds and vibrations which when worked with in a synchronised respectful way creates a sacred instrument of immense adaptability, change and endless possibilities.

When played slowly and gently, gongs create soothing and healing tones and overtones, which allow one to slip easily into the waves of vibrations linked with deep states of consciousness.

When gongs are played quickly and energetically, they create tones, which are lively, quickening and awakening whilst still allowing one to be in a state of deep contemplation and relaxation.

When gongs are played with a strong firm hand, they can be booming and overwhelming with sounds that lift the essence and get to the very heart and core of physical, mental, emotional and spiritual issues, inter-relationships and blockages.

Gongs therefore are extremely adaptable and weave a sound web that is both divinely enchanting and physically earthly whilst manifesting deeply healing and transformational tones, which support and connect to the sounding of the spheres.

HISTORY OF GONGS

The history, science and art of gong making is believed to date back at least five thousand years and some believe to a much earlier period of ancient alchemy around 16000 BC.

Traditionally gongs are made by specialist families whose style, techniques and recipes are passed down from one generation to the next.  Each gong making family is thought to incorporate their own unique design, symbols and metal quantities/combinations in order to create a sacred and distinctive instrument.  Gong making stems back to four major centres of excellence including Burma, China, Annam and Java and there are thought to be many different shapes of gongs linked to these regions.

Ancient civilisations of a religious or spiritual nature have been working with and incorporating metals into the production of sacred objects, instruments and ritual items for many thousands of years.  The creation of sacred metal items has been intertwined into humanity’s nature since the very first discoveries, developments and advances in metallurgy.  From the very beginning, the creation of metal items was linked with our creative nature as humans.  Invocations of specific deities or beings into the creative process were at the very heart of metal work.

The creation of metal items as a sacred act means that tools would have been produced at sacred times of the day, month and year and associated energies of the allocated date and time would have been invoked into the very essence of the energies of the metals.  It is believed that metals had great meaning to the ancient people, with each metal having its own association and deities attached to it.  These energies would also have been worked with and respected in the creation of the metal objects.

In accordance with religious and spiritual beliefs of the time, working with metal would have been held as a sacred act and only those people or persons deemed worthy would have been allowed to be the creators of these sacred instruments and tools.  These specialist makers would have certainly worked in accordance and in conjunction with specific planetary alignments, sacred times of the day, month and year as well as phases of the moon.

The completion of the tools would have seen a sacred consecration ceremony, giving thanks to the energies and beings with offerings and prayers.  The tools themselves made specifically for the individual, community, building or order would have distinctive energies interweaved into the sacred process from beginning to end.

The production of gongs would have adhered to these sacred and ancient beliefs, with specific gong-making families dedicated to the production and perfection of the gong.  This is similar to the specialist Samurai sword-making families of Japan, who over thousands of years perfected the art and science of the Samurai swords whilst working in harmony with the energies of the individual and the metal to manifest a divine instrument.

Gongs have always been held in very high esteem and the ownership of a gong in the East is still seen as a sign of both spiritual and physical wealth.  Gongs are a symbol of good luck and just the very touching of a gong is thought to bring health, wealth and happiness.

gong healingShaman and priest have used the gong for the purpose of banishing evil spirits and demonic forces since its initial creation, due to its powerful and deeply penetrating sound, energy and vibration.  Gongs have also been incorporated into ritual, ceremonies, worship and devotion throughout the turning of the wheel of the year and the changing of the seasons.

Today gongs continue to a larger or lesser degree to be part of community life and in countries in the Far East the gong still plays an important part in the religious and spiritual community including weddings, funerals and spiritual/religious celebrations.

Traditional gongs are believed to be a mixture of several metals including cooper, tin, silver, lead, nickel, iron, zinc and meteorites.  The mixture and quantities of the metals is unique to each family and the exact metals and quantities kept secret in order to maintain the family’s tradition and the gongs sacredness.  Specific metals may have also been used in order to create specific gongs that worked in accordance with specific planetary forces, deities and spiritual beings or the person’s energies that the gong was being created for.

Modern gongs are mostly made from what is called B-20, which is a combination of approximately 80% copper and 20% tin (figures may vary to some degree depending on the maker).  Other metals may also be added to modern day gongs, again depending upon the individual maker.  In the early 17th century it is thought that Avedis, a prominent alchemist brought ancient and sacred metallurgy knowledge from Constantinople (now called Istanbul).  It is believed that gong-making families in Turkey still use this ancient knowledge today.

Today, in the West, gongs are predominantly seen as orchestral percussion instruments with a definite or indefinite pitch.  The word ‘Tam Tam’ is often used to refer to a flat surfaced and clear-sounding instrument and the word gong for a bossed or convex surface with a symphonic sound, which are used either hanging vertically or resting horizontally.  Gongs can also have a nipple or knob at the centre giving it a specific pitch.

With the increased popularity of eastern religions, spirituality and philosophically, the gong is entering western lives in a new and renewed way and is being used as a sacred instrument of sound for healing, meditation, self-transformation and inner growth.

Today gongs are still produced around the world with many dominant centres of excellence, with origins from the ancient past and secret techniques and styles used depending upon the location.  Traditional gong-making families can be found in Turkey, Thailand, Japan, Tibet, China, Burma, Indonesia, Korea, Vietnam and India.

In ancient times many advanced civilisations knew and incorporated gongs in some form in daily religious, spiritual and community life, including the Egyptians, Greeks, Romans, Persians, and Mongols.  In India they believe that the sacred sound of the gong is indicative of the creative force of the universe, which is, the sacred creative force likened to the chant of the Om.  The Gong is therefore a powerful symbol of creation and listening to the Gong was thought to connect one’s being into the creative and abundant nature of enlightened self-realisation.

The nature of the healing and enlightening power of gongs was introduced into the west by the controversial master of kundalini yoga, Yogi Bhajan, who arrived in California from India in the 1960s.  Many of the most eminent gong players such as Don Conreaux and Mehtab Benton were trained by Yogi Bhajan, and they in turn have gone on to train hundreds of people, including Rachel Burnett, the founder of the Colour of Sound Institute.

Sound Therapy With Tuning Forks

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Tony Nec
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Tony Nec

Principal at Sound Healing Academy
Tony has over 25 years experience as a therapist, coach and trainer.He runs the Sound Healing Academy and has a busy practice in Cornwall, England.
Tony Nec
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INTRODUCTION TO  SOUND THERAPY WITH TUNING FORKS

A tuning fork is an acoustic resonator in the form of a two-pronged fork with the prongs (tines) formed from a U-shaped bar of elastic metal, usually aluminium or steel (though in some case quartz crystal).

Sound Therapy Tuning Forks

It resonates at a specific constant pitch when set vibrating by striking it against a surface or with an object, and emits a pure musical tone after waiting a moment to allow some high overtones to die out.

The pitch that a particular tuning fork generates depends on the length of the two prongs.

Tuning forks are mostly used to produce a standard of pitch to tune other musical instruments, though they are also used to calibrate radar guns (e.g. for measuring the speed of vehicles); in gyroscopes and in clocks and watches.

Tuning forks are also used by medical practitioners a variety of ways:

  • Tuning forks, usually C512 Hz, are used to assess a patient’s hearing
  • Lower-pitched ones (usually C128 Hz) are also used to check vibration sense as part of the examination of the peripheral nervous system.

They are also commonly used alongside healing modalities such as polarity, massage, shiatsu and crystal therapies.

Like many of the instruments that are employed in sound therapy, tuning forks can be used therapeutically either as a stand-alone instrument or they can be combined with other sound tools as part of a harmonic sound therapy session.

The U shape of the tuning fork produces a very pure tone, which means that they have a unique sonic precision, unlike most instruments.

There are 2 aspects to this:

1. Few overtones

Most of the vibrational energy is created at a fundamental frequency with little audible overtones or harmonics.  The reason for this is the frequency of the first overtone is about 2.5 octaves above the fundamental.  With most other instruments, the first overtone is 1 octave above the fundamental.  So when a single fork is struck little of the energy goes into the overtone modes.

2. Short sustain of overtones

Also, the overtone frequencies in a struck fork die out relatively quickly, leaving only the fundamental note as a pure tone.  

The pure tones of tuning forks, combined with their compact, light-weight form, make them an ideal instrument for sound therapy.  They can be moved very easily around the aura of clients, held near their ears and placed on their bodies.

Another reason for using the fork shape is that, when it vibrates in its principal mode, the handle vibrates up and down as the prongs move apart and together. The handle motion is small, allowing the fork to be held by the handle without damping the vibration, but it allows the handle to transmit the vibration to a resonator (sounding board) which amplifies the sound of the fork. Without a resonator (which may be as simple as a table top to which the handle is pressed), the sound is very faint.

The reason for this is that the sound waves produced by each fork prong are 180° out of phase  with the other, so at a distance from the fork they interfere and largely cancel each other out. If a sound absorbing sheet is slid in between the prongs of a vibrating fork, reducing the waves reaching the ear from one prong, the volume heard will actually increase, due to a reduction of this cancellation.

All parts of the body can act a resonator for tuning forks, though certain bones such as the sacrum, sternum and cranium are especially good for this.

All this means that tuning forks can be used effectively both on and off the bodies of clients to balance the nervous system and etheric fields, induce relaxation, reduce stress and enhance energy levels.

They are however not typically used in group work such a sound baths, as their audible sounds are quiet unless struck together to amplify the sound harmonics.

As you will see throughout these articles, there are many references to the frequencies or pitch of tuning forks measured in Hertz (Hz).  This is because tuning forks are deigned to create a specific pitch when struck, and so knowledge of their frequencies is fundamental.

Tibetan Singing Bowls for Sound Therapy

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Tony Nec
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Tony Nec

Principal at Sound Healing Academy
Tony has over 25 years experience as a therapist, coach and trainer.He runs the Sound Healing Academy and has a busy practice in Cornwall, England.
Tony Nec
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BACKGROUND TO TIBETAN SINGING BOWLS

Tibetan singing bowls have their origins in the Himalayan region and their use as a sound therapy instrument is believed to date back many centuries, but their history is shrouded in mystery with very little written information available.

 

Tibetan religious and spiritual philosophies entered Western culture as a result of the invasion of Tibet by China in 1950 and the subsequent move by the spiritual leader of Tibet, the Dalai Lama to Nepal who placed the Tibetan government in exile. As a result widespread awareness and interest in Tibetan Buddhism (a unique Buddhist movement with its roots in ancient India) was opened up.

Tibetan singing bowlsThis combined with many Tibetan Lamas travelling to Western countries teaching about their unique culture and religion beliefs attracted many followers. These teachings involved ritual objects that are used in Tibetan Buddhism practices. Many of these were sacred sound instruments, including Tibetan singing bowls. Tibetan singing bowls, which are believed to be used by Tibetan Buddhist lamas, monks and nuns, were available for the first time, in increasing numbers to Westerners.

HOW TIBETAN SINGING BOWLS ARE MADE

The history of metal tools dates back to the Bronze Age in China (2500 BC – 200 AD) where much technical advancement was taking place in the working and production of metal objects, implements, tools and weapons. The ancient Chinese population adhered to their religious and spiritual belief that all things have an innate life form or energy, which they call ‘chi’.

Therefore in the production process each precious object and tool would have been invoked with various energies and blessed and consecrated according to the person the tool was created for including astrological associations. At some point in this period of history somewhere in the Himalayan region it is thought that the first metal singing bowls were created and which may have been oval in shape.

The way in which Tibetan astrology came in to being was through the understanding of astrology and its associations which originate from a combination of wisdom contained within the ancient scriptures of the Vedas, a body of Hindu text believed to be thousands of years old and are some of the oldest written text found by man.

The Hindu scriptures detail information about the ‘raga’, a sacred form of Indian music, which is used for spiritual purposes, and which they believed reflects the movements and sounds of the planets. The notation system of the Hindus assigned a note to each of the planets. As the ancient Hindu systems were passed throughout the Himalayan region and entered into Tibet, this ancient spiritual knowledge would have been deciphered and translated become ingrained into the Tibetan community, and eventually Tibetan Buddhism replace the major ‘Bonpo’ religion of the previous ages.

Tibetan singing bowlsThe influences of the ‘Bonpo’ into Tibetan Buddhism are evident and this combined with the Chinese astrological concepts came together in the creation of not only Tibetan Buddhism but also the creation of Tibetan singing bowls and their astrological associations and indeed sacred sounds as part of the Tibetan Buddhist philosophy, practices, development and devotion.

Tibetan singing bowls which have a unique combination of metals are so called because they originate from Tibet and when played they sing or create beautiful harmonic tones and overtones.

Listen to the sounds of the bowls…

It is believed that traditionally the Tibetan bowls were hand made from a combination of seven metals. The making of the Tibetan bowls is a ancient art form with each individual family having their own Tibetan singing bowl recipe for the weights of each of the traditional seven metals. The family’s production techniques and methods as well as blessings and consecrations are more than likely to be unique and held within the privacy of the makers and passed down only from generation to generation.

It is believed that since the invasion of Tibet many of the ancient family lines of Tibetan bowl makers have ceased with the destruction of many of the traditional ways. However some families escaped to Nepal and have continued to produce Tibetan singing bowls in the traditional ways. It is also believed that some of the families stayed in Tibet and continue to this day in secrecy producing singing bowls in the ancient way.

Because of the popularity of the Tibetan bowls in the West there are many bowls out there which are not produced in the traditional way by ancient Tibetan bowl makers and one should be mindful of the origin of the bowls and where possible ensure that the bowls are not from a source of machine made mass production which have been made to look like old or distressed Tibetan bowls. This is of course difficult for the everyday person difficult to ascertain and therefore the place with which the bowls were acquired should be able to help you in this matter.

Although the Tibetan singing bowls have traditional metal combinations it is likely that each family used the metals in unique combinations in terms of weights and according to their location and availability of metals at that point in time. Therefore each maker would have unique signature bowls, which are individual to that family and which could be recognised instantly by the maker or someone from its line. There are certain bowls which have mantras or words carved into different parts of the bowls and other bowls which have lines at varying different levels around the outside and inside of the bowl.

Tibetan singing bowlsThere are other bowls, which have deities inscribed into the bottom of them and which have different colours from every possible shade and tone of gold to browns and charcoal colours. Therefore every maker’s bowls are unique, but also each bowl is unique through the hand-made method of production forming unique shapes and patterns, creating an individual bowl aligned with that specific point in time and associated astrological connections.

ANCIENT OR NEW TIBETAN SINGING BOWLS?

It is thought that a great deal of the Tibetan bowls for sale today are new bowls which are either produced by traditional makers using ancient techniques or by modern craftspeople without ancient knowledge and or by machines which can mass produce Tibetan style singing bowls.

Often the newer bowls are made to look old using various techniques and this is usually for two reasons, firstly because the bowls may be trying to pass off as being older than they are and secondly because the Western market wants bowls that look like the old and ancient bowls.

Tibetan singing bowlsThe metals used and weights contained with the newer bowls are thought to still contain the seven metals but whether their weights are correct according to the ancient ways is unknown and the likelihood of the bowls being created according to astrological significance is quite low.

Ancient Tibetan singing bowls are difficult to acquire and very expensive with most ancient bowls either in Buddhist communities where they belong or in private collections or museums around the world. It is best to be mindful if a supplier is trying to pass off an old or ancient bowl for relatively small sum of up to $100 or so as it is unlikely that these bowls are old or ancient and it is very unlikely that you would be able to buy such a bowl for this amount of money.

This is not to say that these bowls are bad or you cannot use them for therapeutic sound purposes, because if their sound is good and it resonates with you then it will be perfect, but be mindful of unscrupulous or misinformed suppliers that overcharge and mislead.

The modern bowls, which are largely those played and available to most western people, still ring using the same technique as the ancient bowls. The sounds of the modern bowls are not as beautiful and harmonic as the ancient bowls, which have deep and powerful harmonic tones and overtones.

These modern bowls contain within them the original intention behind the creation of the ancient Tibetan singing bowls. Therefore it is this original intention or blueprint which can be developed with the use of either Tibetan mantra, chanted into the bowl when played, or the adding of ‘Djwal Khul’ aura-soma quintessence (which invokes the Tibetan ascended master and contains the enlightened wisdom of ancient Tibet).

The intention which you give to these bowls plays an important role and with the intention of honouring and devoting your work to the ancient Tibetan masters and makers of these beautiful instruments you will invoke this ancient energy into your bowls.

How To Work With Mantras In Sound Therapy For Healing

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Tony Nec
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Tony Nec

Principal at Sound Healing Academy
Tony has over 25 years experience as a therapist, coach and trainer.He runs the Sound Healing Academy and has a busy practice in Cornwall, England.
Tony Nec
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Mantras have been used throughout the world and in most native traditions for thousands of years as a tool for healing, transformation and to enter into altered states of consciousness.

Mantras can have the same beneficial effects as sound therapy instruments. Mantras work on the same sound healing principles of resonance, entrainment, changing brain wave frequencies and heart coherence.

Meditation and mantras in sound therapyIn our classes we focus on Sanskrit and Tibetan mantras.

Sanskrit (and Tibetan, which has a direct link to Sanskrit) is an energy based language stemming from the ancient Hindu tradition which goes back many thousands of years and is thought to be one of the oldest languages of humanity.

Because Sanskrit is an ancient energy based language, there is not always a direct translation into English of the meaning.

 

Working With Mantras To Help Ourselves & Others Heal & Transform:-

As with all the therapeutic sound instruments that we cover in our classes, direct and personal experience of working with the sound vibrations of mantras brings the deepest level of understanding.

No amount of talking about mantras can substitute for the benefits of chanting mantras in a ‘daily mantra practice’. Through the vocal toning and chanting of mantras their energy is taken into the self and therefore digested and understood by the self.

Each unique person will have his or her own individual experience. Taking part in a daily mantra practice is just as, if not more, important than the understanding of the translation of the words of the mantra.

Mantras have been used for many thousands of years and therefore their importance and potential is evident in their longevity.  Many sages and masters from India and Tibet have recognised them as having great power and potential for healing and transformation.

Some people, perhaps as a result of being criticised as a child, have developed a fear of singing and are reluctant to embrace vocal toning and chanting mantras.

It is important not to dismiss something as not being good for you or your clients without having experienced it or from a fear based on using the voice.

We use our voice to chant mantras out loud, so it may be necessary to build up some confidence in chanting for clients as part of a sound therapy treatment.

You don’t have to be able to sing beautifully or perfectly to chant a mantra out loud.  All you need is to be able to speak out loud (and if you can’t or don’t want to for whatever reason mantras can be repeated/chanted silently).

Mantras can also be sung, and the rhythmic chanting of the mantras is the traditional discipline that can bring about the most beneficial effects to help with healing others.

Direct Personal Experience is the Key to Success:-

Experience is the key to mantras and before you recommend anything to anyone it is always a good idea to have experienced it for yourself so you can understand, feel and identify with it.  It’s also good practice to not give something to someone else that you have not tried for yourself.

Mantras have amazing abilities to help to quieten the mind, heal and transform the body, mind, heart and soul. Mantras are available to all people and are not limited by space, price, location or time and are flexible and fitting to all situations and circumstances.

Mantras are extremely adaptable to any and everyone, including clients with all medical conditions and challenges.

Mantras are ancient and the chanting of mantras can lead to profound transformational experiences both inwardly and outwardly.

The 5 Keys To Success in Building A Sound Therapy Business

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Tony Nec
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Tony Nec

Principal at Sound Healing Academy
Tony has over 25 years experience as a therapist, coach and trainer.He runs the Sound Healing Academy and has a busy practice in Cornwall, England.
Tony Nec
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When we set up and run a sound therapy practice, or a broader holistic therapy practice, there are 5 keys to success:

 

  1. Develop a strong identity
  2. Develop a positive, supportive mindset
  3. Set clear intentions
  4. Put in place a layered system for training and practice, price and service structures, marketing, selling and administration.
  5. Take action immediately

So let’s look at each of these in turn… In this article I cover the first two… I cover the last 3 in follow-on posts.

 
  1. Develop a strong identity

Your identity is a matrix that influences what you do and how you behave. A clear, strong, positive identity acts like a navigation system on a boat in stormy weather, helping you to reach your chosen destination when the waves are high and the wind is wild. It keeps you moving forward; being resilient when faced by challenges and gives you the strength and courage to overcome obstacles on your path.

Your identity is bigger and wider than the roles you play in your work, your job, your career, and in your personal life, as a friend, sister, brother, child, parent, partner, lover and so on. It gives texture and form to your prime purpose or mission in life and what you hold to be the keys to fulfilling your mission.

There are three features of our identity matrix:

  1. How we see ourselves as people
  2. Our prime purpose or mission in life
  3. The keys aspects of what we do to fulfil our purpose

The clearer you are about your identity and mission and the more focussed you are on realising it, the more positive impact you will make, and the more successful you will be as a Sound Therapist, if that is what you choose to do. Are you clear about who you are, why you are here and what you are doing to fulfil your life purpose?

  1. Develop a positive, supportive mindset

Our mindset is the way we perceive the world and the ways in which we fit into the world. It is made up of our attitudes and beliefs – thought forms that shape our behaviour. Often they remain hidden from view, buried in our sub-conscious mind, and yet, like our hearts, they continually beat out their own rhythms, whether we are aware of them or not. Our mindset can support or undermine our efforts to succeed.

To be most effective as sound therapists, we need a mindset that is positive and which supports our intentions and identify matrix. This brings us into greater alignment and enables our energy to flow more easily and smoothly, giving us the openness and flexibility we need to keep fresh in the moment, and enabling us to respond appropriately to whatever challenge is present to us.

I know many people who work as complimentary health practitioners, doing a fantastic job helping others to deal with challenging issues in their lives, and yet they struggle to make a living from it. I know others who do an equally great job and they generate a healthy income from their practice. I’ve noticed that the practitioners who struggle financially usually find it difficult to think of their practice as a business and don’t do all the things that are needed to generate a financially sustainable income. For example they shy away from marketing and selling, or they don’t value their services highly and charge low fees. The key difference between those that struggle financially and those that don’t is their MINDSET.

Listed below are the 7 key mindsets for building a successful business as a sound therapist. This is a set of attitudes and beliefs that you can adopt for your own success:

  1. Complementary health care can be just as valuable to people as conventional allopathic medicine. In fact, given the choice, many people prefer to use complementary health care practices instead of surgery and drugs.
  2. By blending the best of ancient wisdom and modern science, sound therapy is a highly effective system for creating balance and well-being.
  3. Sound therapy is especially valuable at this point in time, when the existing financial, economic, social and health care systems are crumbling and many people are experiencing pain, suffering and dis-ease as a result, and are looking for fresh solutions to their problems.
  4. Many people are willing and able to pay for the benefits that professional complementary health care gives them. Most people listen to music and know that sounds affect their moods and emotions. Many people are very receptive to the suggestion that sound therapy can be of great benefit to their health and well-being.
  5. I will be able to help a lot of people by developing and running a successful business as a sound therapist.
  6. I will feel hugely fulfilled when my business as a sound therapist is running successfully and I’m helping many clients every week to deal effectively with the physical, emotional, mental and spiritual issues that are causing them pain, distress and dis-ease.
  7. I have the resources to face and overcome any frustrations and discomfort that I may experience while developing my business. It’s OK not to get it right first time. I can learn from each situation and setbacks can help me develop the qualities, skills and experience that I need to be successful.

The Colour of Sound Institute provides resources and courses in Sound Therapy.

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