Gong Healing

Sound Healing – How To Play Gongs

June 22, 2016 by Tony Nec

Introducing the Gong

The dictionary definition of a gong is simply a resonant metal disk or saucer-shaped bell that emits sound waves when struck by a hammer. But in actual fact, the gong is far more than this concise description encapsulates. It is, in fact, a versatile sound healing instrument capable of producing a wide variety of intricate acoustic tones depending on how it is played.

The combination of striking force, striking sequence, striking rhythm imparted to the gong by the player, coupled with the resultant oscillatory wave motion of the resonating gong, all contribute to the final quality of the generated sound and the transmitted healing effect. In this posted article, I will be taking a brief tour of the foundation steps to explore more about the acoustic characteristics of the gong and how to play it.

Types and Sizes of Gong

Gongs can be classified into two distinct categories : hand-held and stand-mounted. Typically, sound healers tend to concur that the ideal and most comfortable size range for hand-held gongs is between 18-20 inch (45-50 cm) in diameter. Any smaller than 18 inch potentially reduces the quality of tone and thus the resultant range of healing effects may diminish. Conversely, depending on your strength, gongs larger than 20 inch can become quite cumbersome and heavy for carrying around and working off the body of a client.

Sound Healing Academy endorses three specific types of gong :

First off is the simple Wind Gong –being of a thin, flat shaped, rim-less disk, it is relatively lightweight, easy to hold and manoeuvre, thus ideal for playing around a client.

Second, and slightly more sophisticated, is the Chow Gong –its rimmed construction enables the capacity for larger sizes beyond that of wind gongs, and so heavier and capable of deeper tones on the limits of hand-held practicality.

At the top end of the scale is the Symphonic Gong, an imposing presence in any sound healing space – its size and weight makes it unsuitable for hand-held work for any length of time and so are often stand mounted.

The gong’s static position enables it to be raised to the same height as the client so that the client can benefit from the stream of emerging sound waves.

Types of Gong Mallet

The hardness or softness of the striking end of the gong mallet is key to the sound produced. The harder the mallet end, the brighter the sound whilst, a softer ends yield more muted and mellow tones. It recommended to have a variety of cloth-ended mallets available to explore the range of tonal extremes.

In addition, percussion mallets with a small ball head, are ideal for playing the gong’s rim and creating high tones. Also small rubber headed balls –or flumy, can be drawn across the gong’s face to produce whale-like timbres. There is also, of course, the use of our very own finger tips!

Gong Playing Zones

The circular disk of a gong can be classified into three distinct playing zones:

There is the central hub – where the fundamental notes and deepest tones are to be found.

Further out is the outer annulus – towards the edge of the gong is where the overtones evolve and higher pitches will register.

Then at the periphery is the rim – in larger sized gongs, this is the mechanically stiffest part of its construction and so possesses the highest resonant frequencies.

More often than not, the sound healer is seeking either the releasing or harmonising effect of multiple tones that lay beyond the resonance of the fundamental note. Consequently, the gong’s hub is considered inert space and so the gong is generally played off- centre, to the side of the central zone, to benefit from the myriad of overtones in its outer disk.

Setting the Gong

In order for the incident sound waves from the gong to emerge as pristine as possible, without undergoing resistance, or being unduly altered or distorted by reflection from internal surfaces or impinging bodies, it is worth considering the gong’s placement in the surrounding space when it is being played. Multiple reflections, not always heard as distinct echoes, have the effect of prolonging or “colouring” the original sound quality.

Reverberation time of an enclosed space will vary according to room dimensions, the distance between the gong and other surfaces, each surface having a different sound absorption rate. Acoustic screens – such as curtains, carpets, will attenuate high frequencies. Panel and cavity walls will soak up low frequencies. So perhaps experiment to see what sounds best. Placing the gong in a space such that there is equal and unimpeded distance forward and aft of the gong, will help to optimise and preserve the original sound qualities.

Priming the Gong

As a prelude to working with the gong within a sound healing session, it is customary to initially “wake-up” the instrument from slumber – to get it resonating! This process is termed “Priming the Gong” and can be achieved by slowly and gently tapping within the outer annulus, either using the fingers or a soft-headed mallet, and letting the sounds quietly and gradually emerge and blossom.

Gong Volume Control

In a typical gong session, the sound is introduced quietly, increasing the volume to reach a crescendo and then allowing that intensity to diminish, even into silence before repeating this sequence over a few minutes. Thus, being able to generate and control the volume of the emerging sound is a key practice to master.

Sound volume or, more technically, the amplitude of the sound wave, is proportional to how much force is applied to the gong when striking it. Striking the gong perpendicular to the disk –i.e. tapping, will cause a single resultant force in the same direction. But, applying a glancing blow causes two lesser forces to be generated and thus moderates the sound’s volume. So by varying the glancing angle of strike, the intensity of sound can be managed.

The amplitude of sound can also be augmented by increasing the frequency of strikes or tempo –the speed of repetitive strikes. The more strikes in a given time, the higher the volume for the same force.

In all styles of playing, the volume is kept intentionally low as this serves to be more restful and relaxing for the client. There may be an occasion when a loud “thunderbolt” strike is required to shake things up – but usually the gong’s extensive range of tones are nurtured by a soft and gentle touch and naturally allowed to work their magic.

Simple Gong Playing Techniques

So, for the reasons given, the glancing strike is the most widely used and versatile way of imparting a force to resonate the gong. This skimming movement of the mallet across the gong disk, either as a down-stroke (when below the gong centre) or as an up-stroke (when above gong centre), stems from a flicking motion centred at the player’s wrist. This technique is key to master playing the gong. The force and effort imparted within the glancing strike can be varied and graded simply as soft, firm and hard –with a 25-50% increase in force delivery between each grade.

It will be noticed that repeated striking of the gong will actually deaden the sound, inhibiting it to fully resound across its tonal range. The player will recognise that to harvest the full sound spectrum from a single glancing strike, sufficient time must be allowed between consecutive strokes for the sound to blossom to its full potential.

The gong is a percussion instrument. So rhythm and tempo are vital facets of gong playing to allow for that all-important sound emergence. Once again, the speed at which the strokes are imparted can be simply graded as slow, medium and fast –with a 25-50% increase in speed between each grade. So these basic techniques enables the player to get the gong resonating to achieve the instrument’s full sound potential. In addition, the player needs to be able to attenuate or dampen the emerging sound. Dampening can be achieved in one of two ways : either by placing a hand firmly on the gong rim –diminishing the sound rapidly or, more gradually, by pressing a soft-headed mallet against the disk to deaden the sustain.

Gong Sequences

Another aspect to gong playing is to establish where to strike the gong disk to achieve the desired sound effect. Systematically, one can imagine the gong’s disk resembling points on a clock face with 12 o’clock at the top. The clock face analogy is very useful when trying to build and later, reproduce a sequence of strokes to create a desired sound and healing effect.

One particular simple 4-stroke sequence is 6-3-12-9 or the cardinal points sequence. The arrows beside each clock position in the sequence is indicative of the direction of glancing stroke for a right-handed player. It is also possible subtly raise or lower the note frequency or pitch at each clock position simply by reversing the direction of the glancing stroke.

So for example, the tonal frequency at the 6 o’clock position can increased by an up-stroke towards the gong centre instead of the conventional down-stroke towards the rim. Conversely, at the 12 o’clock position, the pitch can be lowered by playing the stroke in the reverse direction.

There are also combinations of 2-stroke diagonal sequences, like 3-9 and 2-8 and their reversals, that offer further potential for different tones and pitches. However, when playing the gong’s diagonals, in particular, it causes the gong to “wobble” out-of-plane producing “wah-wah” and pulsing effects. This adds yet another dimension to gong playing by considering the resultant motions of the resonating gong and how such reactions can be used to generate and propagate wave motion as part of the healing effect.

3 Degrees of Gong Motion

A resonating hand-held gong can be set into three types of motion activating unique healing effects.

One technique is fanning the resonating gong axially forward and aft along its axis –towards and away from the client to introduce pulsating waves. The sound healer’s body position is vital; a relaxed centre-grounded stance will allow for ease of playing and it is essential to create a sense of balance in sync with the gong’s motion. The gong is held out to one side of the healer so that the emitted sound waves are not distorted by the healer’s own body.

Another technique is swinging the vibrating gong, moving it laterally in-plane as if it were a clock pendulum. This motion is particularly useful when wanting to move around the client. Whereas the fanning motion is only suitable when the sound healer is static.

The third technique is spinning the pulsating gong about its suspension axis. An added variation to this motion is allowing the spinning gong to vertically rise and fall towards and away from the client. This method is often employed over the client’s head to synchronise the two hemispheres –the logical left side and the intuitive right side, of the brain. It is easier to play and manoeuvre the gong over a client when they are lying down on the floor as opposed to on a therapy couch. Consequently, the gong session can last longer thus improving the healing effectiveness. When working above the body it is essential to ensure that you have sufficient height and strength in order to fan, swing or spin the gong over the client.

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How To Play Gongs

December 20, 2014 by Tony Nec

This video demonstrates the basics of how to play gongs….

It’s the second in a series of 4 training videos by the Colour of Sound Institute for the Gong Module in the practitioner Diploma in Sound Therapy.

Click here for more details of the course

INTRODUCTION TO GONG THERAPY

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.

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.

“The Gong is the spirit song.
It is the primal whisper of the soul.
Its sound is the echo of the Original Word that created the world, the sound within all sounds.
Listen with outer and inner ears.
Feel its pulsations and let the millions of vibrations dance and flow through your senses.
You will become fearless, relaxed and awakened.
The ancients sought this experience on the tops of mountains and at the sacred places.
The voice of God would thunder in, spectacular strokes of lightning.
The clap of thunder – Bang! Shatter! Roll! Echo! – stopped all thought, stripped away pretence, shook loose the deepest fears, and rejuvenated the nervous system.
It created strength, peace and healing.
The Gong is that sound. It is the flash of inner light.
The mallet is the will of the infinite, and the sound of the gong is the heartbeat of the soul.”

Yogi Bhajan

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.

Shaman 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.