The association between the size of a singing bowl and the pitch of its sound comes from a simple observation: larger bowls generally produce lower-pitched sounds, while smaller bowls tend to be higher-pitched. However, this relationship is not as strict as it may seem.

The principle of resonance plays a crucial role here. When a bowl vibrates, its oscillations distribute in a specific way across its surface:

• The rim of the bowl is where the strongest vibrations occur. This is the area where the sound waves propagate most actively.
• The center of the bowl, on the other hand, acts as a gravitational equilibrium point. If you place your finger at the center while the bowl vibrates, you will notice that it moves the least.

Thus, a larger bowl offers more space for vibrations to propagate, which naturally slows down the vibration frequency, producing a lower-pitched sound. However, a large bowl can also produce high-frequency sounds, especially when the sound is sustained over a long period.

The main difference between a small and a large bowl, beyond pitch, is found in the intensity of the vibrations:

• Small bowls produce subtle, localised, and precise vibrations.
• Large bowls create deeper vibrations that spread more widely through the body.

This is why, in therapeutic practices, specific sizes are often chosen for strategic placements:

• A small bowl placed on the forehead when lying down can generate intense vibrational sensations.
• A large bowl placed near the body can create a sound wave that spreads broadly, reaching multiple muscle areas.

In reality, it is not just the pitch of the sound that matters, but how the sound interacts with the body through vibration.

What other factors influence the frequency of a bowl?

The frequency of a singing bowl does not depend solely on its size. Instead, it results from a unique combination of multiple factors, making each bowl one-of-a-kind and impossible to replicate perfectly.

The main factors influencing a bowl’s frequency include:

✔ Wall thickness – A thicker bowl tends to vibrate faster, producing a higher-pitched sound.
✔ Metal alloy and density – Different alloys create variations in resonance quality and duration.
✔ Bowl shape – Bowls with curved rims resonate differently than those with straighter edges.
✔ Hammering and craftsmanship – Every strike of the hammer during forging slightly alters the structure, affecting how the bowl vibrates.

This complex interaction of factors is what gives each singing bowl its unique sound and makes it difficult to reproduce artificially.

Is there an absolute rule between size and tone?

No, there is no strict rule dictating a fixed relationship between a bowl's size and its tone.

• A large bowl can produce a low-pitched sound, but if its walls are very thick, it can paradoxically sound higher-pitched than a smaller bowl with thinner walls.
• Larger bowls tend to create more expansive, deep-reaching vibrations that are felt in muscles and the nervous system, promoting deep relaxation.
• Smaller bowls provide more focused, precise vibrations, often used to stimulate specific areas of the body and skull.

What about the frequency of the bowl?

In acoustics, a frequency refers to the number of sound wave oscillations per second. It is measured in Hertz (Hz), which represents how many complete cycles occur in one second.

• Low-pitched sounds have a lower frequency (fewer oscillations per second).
• High-pitched sounds have a higher frequency (more oscillations per second).

For example, if we take an A at 440 Hz, it means that the sound wave completes 440 full cycles per second.

The classical formula for frequency is:

f = 1 / T

where:

• f is the frequency (in Hz),
• T is the period (the time required for a full oscillation, in seconds).

Another version used in acoustics:

v = λ × f

where:

• v is the speed of sound (approximately 343 m/s in air),
• λ is the wavelength (the distance between two successive wave peaks),
• f is the frequency (in Hz).

What’s interesting here is that in both equations, time is always a factor. This demonstrates that frequency is a measurement based on time rather than an inherent characteristic of sound.

In other words, what we call frequency is an artificial framework that allows us to quantify oscillations, but it does not fully define the nature of sound itself. A sound is not just its frequency; it also possesses intensity, dynamics, and spatial expansion.

Are Perfect Frequencies Real, or Just a Myth?

A widespread belief about "magical" frequencies such as 432 Hz or 528 Hz is that they are fixed, absolute, and perfect, which is not scientifically accurate.

✔ A sound never has a single fixed frequency. Instead, it vibrates within a frequency range, never settling on one exact number.
✔ Frequency measurements are limited by our tools. The more precise the measurement, the more we see that each sound contains an infinite number of decimal places rather than a single whole number.
✔ Our perception also plays a role. The human ear cannot distinguish extremely fine frequency variations, and our brain naturally simplifies what it hears.

Singing bowls perfectly illustrate this reality:

• They produce a unique, recognisable sound, but it is never a single fixed frequency.
• Each bowl has a dominant frequency but, in reality, generates a spectrum of sound that includes a fundamental tone and multiple harmonics.
• The sound of a bowl is more similar to a human voice than to a synthetic tone—it glides, oscillates slightly, and creates a sense of stability within a shifting structure.

Do Specific Notes Correspond to Chakras?

Yes and No. The idea that each note is directly linked to a chakra has its roots in Nepali and Tibetan traditions, but this correspondence is far more complex and nuanced than a simple fixed match between a sound and an energy center.

Where Does This Association Between Notes and 7 Chakras Come From?

The connection between sound and energy centres primarily originates from Tibetan and Nepali traditions, two cultures with a shared historical and spiritual background.

• Tibet, before its occupation by China in 1959, had an extremely rich spiritual culture, with numerous texts and oral teachings on sound and meditation practices.
• A large portion of this knowledge was lost, destroyed, or reinterpreted due to the confiscation and destruction of sacred texts, with only fragments preserved through oral transmission.
• Nepal, still home to lineages of metalworkers and sound practitioners, has retained part of this heritage, but our understanding of these teachings remains fragmentary.

In these traditions, there is a link between sound and the seven chakras system, but not in a rigid way where a bowl = a chakra = a fixed note. Instead, what is passed down is a harmonic approach to sound, where the relationships between notes matter more than the individual notes themselves. This approach differs from Ayurveda, which systematically assigns sounds to chakras, influenced by Indian classical music theory.

Current research suggests that Tibetan tradition was likely structured around a mathematical system of sound and vibration, though we do not yet have all the knowledge to fully reconstruct it.

• The social and spiritual organisation of Tibetans seemed to follow a logic of harmonic ratios, observable in their music, lifestyle, and even their currency.
• Rather than saying each chakra vibrates at one specific note, it is more accurate to say that relationships between played sounds create vibrational effects that influence the body and mind.
• These ratios appear to have structured Tibetan sound practices, though much of this knowledge has been lost or altered over time.

Do You Need a Full Set of 7 Singing Bowls?

No, a single well-used bowl is more than enough. One well-used bowl, played regularly and with intention, is enough to create a deep and effective sound experience. Each bowl has a unique harmonic richness, and using just one already allows for a structured vibrational atmosphere. Owning a complete set of seven singing bowls is not essential for experiencing the benefits of sound.

Why Do Some Practitioners Have So Many Singing Bowls?

Some therapists and practitioners use large collections of bowls, sometimes well over seven, depending on their audience size and the available space they have. However, it is recommended to maintain an aspiration towards the number seven, as it allows for the creation of true harmonics and ensures a structured approach. A set of seven bowls simplifies the process of building sequences with clear structures, facilitating rhythmic transitions, intensifications, and dynamic variations, much like a musical composition.

• When a full set of seven bowls is reached, it becomes possible to experiment with harmonic ratios and construct specific vibrational sequences.

• This approach is not just about assigning a bowl to each chakra but rather playing with sound relationships to create specific effects on perception and the body.

✔ For children, a small bowl is recommended for safe handling.

✔ For versatile personal use, a medium-sized bowl is the most practical option.

✔ For adults and practitioners, larger bowls enhance vibrational effects but require a stable setup.

✔ For professional therapeutic purposes, a minimum of three bowls is useful ( 2 medium/large and 1 small )

How to Reach Inner Silence?

In music, silence is just as important as the notes, pauses and rests create rhythm, shaping the experience of sound. This principle extends beyond music into our perception of reality.

In a purely mechanical sense, silence is the absence of movement in sound waves. It is the moment when vibrations no longer propagate, creating a temporary stillness. However, true inner silence is not just an external quiet, it is a deep state where the body and mind synchronise with the rhythm of sound itself.

Singing bowls naturally lead to an experience of silence, not as an absence of sound, but as a state of complete alignment between the practitioner and the bowl's vibrations.

• Deep listening allows the body to attune to the sound waves, creating sensory synchronization.
• As the sound stabilizes, the mind mirrors this steadiness, allowing a profound state of inner quiet.
• This phenomenon is what leads to relaxation: when external sound and internal awareness reach the same vibrational level, the mind experiences a natural stillness.

This sensory synchronisation explains why singing bowls are used in meditation: they guide the listener toward a silence that is not empty, but full of resonance, a silence that connects rather than isolates.



Thank you for taking the time to read, Tantra Sound.