Sound Healing #2





“The basic principles of music therapy were recognised throughout the ancient world. The concept may be traced in the writings of the Greeks, Egyptians, Persians, Hindus, Chinese and other learned nations of antiquity. It was, and still is, a part of the religious ceremonies of primitive peoples throughout the world.”    

Manly Palmer Hall.



            This article covers Tibetan Singing Bowls in Sound Healing in a very deep way regarding the unique methods that I have unfolded over many years now. However, before we go intensely into this subject, a little brief history may help to prepare for the exploration of our subject.

           Tibetan Singing Bowls first appeared in the West around 1970 as a result of Western ‘hippie’ travellers spending time in India. Several Westerners, both then and now, have striven to find out from the indigenous peoples something about the bowls – even living there for up to ten years – but always there is seemingly precious little known or spoken about them. Nowadays, it might be better to refer to such bowls as Himalayan Bowls – as those available can originate from numerous regions: – Bhutan, Burma, Nepal, Assam, India, Sikkhim, Himachal Pradesh, and Tibet, etc. Antique Chinese and Japanese ‘Resting Bells’ have found their way into this country since the 18th century. By comparing the sounds of bowls from these several regions, the Tibetan bowls are noticeably different, being harmonically far richer in their sound. This can most probably be attributed to their unique alloy of anything (depending upon who is asked) from 3 to 12 different metals.

            The ‘singing bowl’ is actually a kind of ‘resting bell.’ The oldest tuned bronze bells excavated so far are from 2,000 BC in China. This means that the science of bell making in China has been developing for around 4,000 years now. In ancient China two types of bells were made (a) for orchestral music, and (b) for meditation. Meditation bells were designed to ring on for a long time and to be rich in harmonics. The individual sound-vibrations of such meditation bells should also stimulate certain spiritual-religious feelings or states of consciousness. It is these types of bells or bowls, developed in several regions, that are most useful for sound healing. As time went on some of these bowls were created to awaken qualities dormant within certain chakras. Certain forms of meditation were performed in order to assist the spiritual unfoldment of the individual along the lines of chakra development. Because such bells were designed for assisting communion with the inner spiritual worlds, so they can help to realign us with those realms of light and harmony.

            The evolution of western orchestral music especially, has led to a situation wherein we expect a considerable degree of complexity, richness and varying patterns. This reached a peak around the time of Mahler, Schoenberg, Stravinsky etc, the eventual reaction to which was the ‘minimalist’ music of LaMonte Young, Terry Riley, and Philip Glass. Interestingly enough, both Riley and Young studied under the same Indian singer the late Pandit Pran Nath. Now we hear of the ‘New complexity’ school of composers. One thing is for certain; no way does our musical education prepare us for listening to the sound of one single bowl for minutes on end and still consider it as music! Yet, compared to one note on a piano, we can more easily hear several tones sounding together creating a very rich listening experience with these overtones behaving rather as do the planets revolving around the central sun – that spiritual essence of the Bell-Bowl – seeming to open up a complete omniverse. Of course, it is understandable that Western orchestral instruments require a very diminished emphasis upon overtones otherwise there would be considerably more ‘notes’ to compose and orchestrate for! Nevertheless, to cast aside such programming and like a child enter into the omniverse of one single Singing Bowl brings its own special rewards – such as discovering the multi-dimensionality of the layers of sound within the sound!

        The unique alloy, from which the Tibetan bowls are hand-made, uses, according to whom one asks, either three, five, seven, nine or sometimes twelve metals selected from gold, silver, mercury, copper, iron, tin, antimony, (the seven planetary metals) plus nickel and zinc. The list is also extended to include meteorite. When meteorite is included I have noticed a different spiritual vibration to such an instrument and these special bowls are always active on the plane of spiritual initiation. The different thickness of metal applied in the making of the bowls produces a variety of tones and harmonics. The bowls also possess three regions relating to the three mantric sounds of Om, Ah and Hung and there exist several ways of working with this knowledge within the sound-healing realm.

I classify all bowls into two basic, fundamental ‘families’ namely: – Yin or Yang. This is derived from their actual design – Yang bowls having a thick ‘rim’ whilst Yin bowls have a ‘rim’ the same thickness as the rest of the ‘wall’ of the bowl.

          Sometimes people approach me looking for a ‘healing bowl.’ I doubt that there is one single singing bowl for treating everything! The way that this approach did work for one individual practitioner was by finding a bowl that helped to put him in touch with his own source of healing energy before working upon his patients. I personally work from within a selection of 67 singing bowls played, almost exclusively, around the head. Other practitioners offer a kind of ‘sound massage’ utilising the relaxing sound qualities of the bowls, others place bowls upon the body of the patient, and yet others continuously strike a bowl whilst moving it along the body of the patient listening for its sound to change and thus indicate an area to be worked upon, again one bowl may be used by being struck and then moved according to the style of the pracitioner above the length and breadth of the body, whilst, again, others use them in a more ‘hands-on’ manner working with handicapped people within the context of ‘music therapy.’

          Regarding the spiritual dimension to my sound healing work: I first trained in spiritual healing in 1965 and at that time my interest in sound healing first began and my search for suitable healing sounds began. As sacred percussion instruments from the Far East continued to come my way I began to search for ways of using them in sound healing. However, this search seemed to crystallise once the Singing Bowls of Tibet came my way. I found that the ‘sacred’ bowls generally possessed the most potent forces, being the most ‘psychically charged’ of all my sacred instruments whilst also possessing stronger links to energies upon the other subtler planes. As my collection of these ancient sacred instruments has grown, so too my understanding of how to use them in sound healing has also unfolded congruently in this organic way. In 1970 I joined The White Eagle Lodge immediately giving myself in service to the form of spiritual healing practised there and so I received further training in this particular path of service. This form of healing involves working with the Christ Light alongside the angels of healing using visualised colours applied to the chakras. Because of my very close link to this form of healing it is unavoidably incorporated into my particular form of sound-healing work  which I call SPIRITUAL SOUND HEALING. It is not White Eagle Lodge healing (as given through White Eagle many years ago) but there is a connection –  although that it is not to say that my sound healing work is in any way endorsed by the White Eagle Lodge organisation.



(developed by Frank Perry)


        For the most part, I leave lots of ‘space’ for the bowls to work their magic. One must resist the tendency to rush onto the next sound in this work. I prefer to allow the  sounds of the bowls to disappear into the silence. I dislike interfering with their sonic existence. That was part of their original use – to follow the sound into the silence; so as to begin to hear the ‘Inaudible’ sound, or Anahata Nada, as it is called in India. The Karmapa (head of the Kagyu Sect of Tibetan Buddhism) in his previous incarnation heard a group of Westerners playing singing bowls and he said that this “sound of the singing bowl is the sound of the Void.” The Divine Truth of the Void (the Buddhist conception of the ultimate nature of reality) refers specifically to the lack of inherently existent (separate) self in all phenomena and beings. In the silence of our own innermost being, we learn and discover about our true selves. So, this method of applying sound is also partially using such sacred sounds for self-discovery or self-development within the healing treatment. The answer to all our problems lies within ourselves. When we have stilled all our outer activity, we can begin to hear the voice of our own conscience – the voice of Wisdom, which can guide us into more harmonious ways of living; we connect with our Intuition – or ‘Inner Teacher.’ The stillness within the bowl sounds provides us with just such an opportunity during the sound-healing session. In Astrology the planet Uranus is linked with intuition and this planet rules the sign of the New Age (Aquarius) and in India it has also been associated with the inner mysteries of Divine Sound.

        During sound healing sessions the bowls are played with great patience allowing their sounds to dissolve according to their natural decay. When more energy is needed, or when wishing to enable the patient to surrender themselves to something greater, through the magic of sound, then there is less silence and something more akin to an awesome symphony of sounds – more akin to traditional Church Bell-ringing (particularly regarding the deeper bells – as  found in Germany or Russia). Initially, the bowls are struck and ring on for a long time. This captures the individual moment or takes the mind away from drifting thoughts, helping to ‘cut through’ these, and so to concentrate it upon and within the eternal Now. No recognised tunes occur in this system, rather each sound simply appears and at some point disappears. This unpredictability regarding just precisely what will happen next brings about a form of acceptance within the patient from which they can begin to open up to receiving other energies; such as the gifts from the healing angels. Experiencing the intermingling of their several rich overtones can, through the psycho-acoustical and magical sound-properties of the Bowls, assist us in losing ourselves to the expansive and elevated inner realms of the spirit through their transcendent sound-world.  My own spiritual gifts have enabled  me to immediately divine the extra-sensory qualities of certain of my sacred  healing bowls and it is within the sphere of this multidimensional aspect of  these special bowls that the real spiritual aspect of my form of sound healing  operates. These rare bowls, like ragas or mantras, resonating with specific  spiritual qualities, assist in aligning the patient to these divine principles  that require strengthening in order to restore the harmony within the patient’s  Chakras – or spiritual body.


To listen to a short example (for strengthening Manipura Chakra) of these sounds


          Between the different tones, ringing harmonics appear, pulsating,  floating, sending sound throughout the entire auric field and into the chakra centres. For this effect one requires bowls of excellent quality. Speaking generally, I have found that the lower chakras equal lower tones whilst higher chakras resonate with higher tones. These tones very slowly dissolve whilst the larger bowls possess a slowly pulsating fundamental beat creating an experience of deep relaxation almost tangibly manipulating down the entire body. The actual cyclic speed of these pulses is very close to that of certain brain cycles i.e. Alpha and Theta which brain states correlate to deep relaxation, contemplation and altered states of consciousness; especially visualisation or an active imagination. So, paradoxically, very deep, low pitched Bowls, create a very slow pulse or oscillating beat, which – through the law of resonance – stimulates, induces and awakens alternative states of heightened consciousness! In other words, it doesn’t necessarily follow that only ‘high pitched’ bowls are capable of stimulating ‘higher’ states of consciousness! In the 80s Delta brain wave activity was associated with sleep states, unconscious or comatose symptoms, whilst in the 90s it was discovered that certain spiritual healers whilst giving healing and certain shamans in trance-like states had brain-wave measurements of 1cps (Delta activity) and so this ‘unconscious’ label had to be revised. It must also be pointed out that this categorisation of brain wave states is something of an oversimplification, because it might be that the brain has a focus upon one such wavelength but is also functioning in areas related to other categories. But this simple list helps us to get a grasp of the basic idea.


          Just as sound vibrations are measured in Cycles Per Second (cps), so also, these brainwaves are measured in Hertz (Hz) or (cps) i.e. I Hz = I cps. Brain states have been divided into roughly seven categories. Some disagreement exists as to where one brain state ends and another begins, however, generally speaking, neurologists use the following schema:


Super High Beta           = 35-150 Hz

K-complex                    = 33-35 Hz

High Beta                     = 16 –32 Hz

Beta                               = 12 – 16 Hz

Alpha                             = 8 – 12 Hz

Theta                             = 4 – 8 Hz

Delta                             = 0.5 – 4 Hz


          It has been said that in the Theta brain state there can be visual images. Such images can seem very real, and in some of the lower Theta states there is little or perhaps no sense of the physical body. A person may also experience their body as being a ‘field of energy’ or as if parts of their body are floating in the air, unconnected to other parts. On entering into Theta brainwaves the sense of physical pain can disappear – often after the first 5 minutes of one of my sound healings.

          The internal experience one has during Theta activity seems to be the most prevalent perceived reality. External reality to a greater or lesser extent is simply not experienced or becomes far less significant. And we all need a break from so-called (external) ‘reality’ don’t we!

          ‘Non-ordinary’ states of Awareness appear in Theta beginning in Alpha (slow respiration rate & deep relaxation). In public sessions (such as at demonstrations during Sound Healing workshops etc), people often comment upon immediately noticeable changes in breathing rates of the volunteer client. During private sound-healing sessions it is not uncommon for people in this Theta state to experience colours beyond those seen on earth! Also people will often experience themselves moving away from ‘normal’ consciousness (awareness of time, pitches, notes, intervals, and discordant or concordant chords – combinations of bowls) towards losing that awareness and leaving their physical (normal) body altogether. Upon returning they have sometimes suddenly felt their physical body to be very heavy! In ‘remote viewing’ practitioners aim to achieve optimum results through using Delta brainwave states to and from the Alpha consciousness. In their book ‘Preparing for Contact’ Lyssa Royal and Keith Priest state that Extra-Terrestrials (E.T.’s) seldom function in Beta brainwaves (our normal state) but rather resonate more to these Alpha and Theta brainwaves! So! Perhaps the similarity of the Bowl sound to that of U.F.O.’s is no coincidence. It has also been stated that the favourite music of E.T.’s is Tibetan music! So, should one be seeking such a contact it is possible to state, perhaps, that a Tibetan Bowl sound healing provides optimum conditions! Actually, there have been occasions when, during a sound healing treatment, both the recipient and myself have been aware of such a contact having taken place.

          Perhaps it is also helpful to reflect that during our sleeping hours our physical body receives the opportunity to renew itself because our astral and mental bodies have returned to their natural spheres. Similarly, during the entering of Alpha, Theta, and sometimes Delta states, through listening to the bowls, the physical body may receive temporary rest from these mental and astral bodies allowing the same regenerating energies to become activated and so leading to renewed health.

        To the ancient Chinese the Element Metal (5 Elements) was associated with the ‘Divine.’ The use of Bells in ancient Chinese ritual music was intimately associated with the cult of Ancestors, i.e. with the most spiritual of all musics (sacred music). As mentioned before, in those ancient times there were two types of bells: – Orchestral Bells (of short duration) and Temple Bells which, like Tibetan singing bowls, were made to have a very long sustain with a warm, rich and resonant sound.

Here is a description of the form of sound healing that I have unfolded intuitively since 1981 exclusively using Tibetan Singing Bowls.


          At the very start of a healing session I begin by preparing myself and silently praying that I may be of service to the patient and the Healing Angels. This involves becoming very still and communing with the Cosmic Christ Spirit in the Temple of Healing on the higher spiritual planes as well as making contact with those spirit healers of the Great White Brotherhood, and other spirit guides with whom I work, each one of whom specialises in a different form of healing. At this point I also play one of the SpaceCleansing Bowls from my collection. This has a dual purpose. ONE is to cleanse the space to remove all of the existing energies from the previous activities that occupied the room – because commencing from that moment the only appropriate energies are those that surround the patient. As these take the centre stage they become easier to focus upon. TWO is to hold the patient under the Light of the Christ Star – under the Healing Ray from the Healing Temple in the world of spirit. At this initial point I would also consider whether, according to my observations, the client had an affinity with either of the three major paths: – Karma Marga (Power), Bhakti Marga (Love), or Jnana Marga (Wisdom), as this would affect the type of treatment given.

         Next I play through a specially selected set of 5 pairs of small Yang bowls placed upon the floor in the shape of an upward pointing triangle around the patient’s head. These start from around the level of their shoulders – one beside each ear – and then move upwards towards a point where the top pair are beside one another. This shape mirrors and resonates with that of the ‘Transpersonal Chakra’ said to be located above the head and cone-shaped. This opening sequence mainly serves to balance left and right hemispheres of the brain. Certain psycho-acoustical properties of the singing bowls are exploited here. These matched pairs, whilst being rich in several harmonics, also produce slow beats that can be imagined as pulsing down the patient’s entire auric body. These slow pulses vibrate at less than 6 cps and therefore synchronise with both Alpha and Theta brainwave states – leading to altered states of consciousness. These slow pulses also help the patient to relax and begin to ‘surrender’ to these powerfully tuned sounds. This binaural opening sequence, whilst operating upon the lobes of the brain, can also synchronise both hemispheres of the brain. These Yang pairs are placed in an ascending order of pitch. This section is exactly the same for everybody receiving a treatment – after this opening sequence it ‘s never the same, even for the same client returning, for they have changed.

          Whilst this opening ‘ritual section’ is taking place, I begin to clairvoyantly look at the patient’s chakras and, in conjunction with other techniques, start to diagnose their condition alongside the causes of the inharmony (which may extend to karma from past lives). I am also, considering which individual sound requirements are necessary to assist in moving them towards a more harmonious state of health. Although I term this clairvoyance it is of an unusual kind consisting of blending what we usually term clairvoyance with a more spiritual form. Because of my approach to working with the bowls – following them to where they take me – my form of clairvoyance used here took a similar path i.e. that of putting myself in the place of the person, even as I put myself into the bowl; by forgetting myself for a moment. This has its counterpart in certain forms of shamanic healing practices. Clairvoyance means ‘clear’ ‘seeing’ – to see with the eyes of truth or to penetrate beyond the surface appearance. At this stage I’m also noticing whether the patient responds more favourably to the sounding of any one pair of Yang bowls being played. This can also provide certain diagnostic indications. One of the first considerations is which of two fundamental categories the healing will fall into: – (a) Restoring the harmony, or (b) Assisting the client towards a new harmony.  

            This concludes the opening section of the treatment, which, as previously stated, is exactly the same for all clients. From this point onwards, I select from the remaining 56 bowls those that I perceive will assist in the treatment whilst leaving space for spontaneity and intuition to assist when necessary.

          Next, I select a bowl to work upon the Throat Chakra. I have four primary throat chakra bowls. I make my choice by selecting the bowl that produces the desired Colour i.e. Blue, Green, White or Gold. I then play the bowl, or combination of bowls, and direct the Colour Healing Ray to the patient’s Throat Chakra and from there it will extend throughout their entire aura. In my efforts to fully comprehend what lives within each of my sacred instruments, I discovered that some of them produced very strong, clear colours upon the astral plane. Some produced one single colour, whilst yet others produced several colours e.g. my 12th century Tibetan Heart Chakra bowl produces firstly a Red-Gold of the Spiritual sun, whilst on its next ‘level’ it produces the soft Rose Pink of selfless love and finally, behind that, it produces the rich Madonna Blue of Devotion. With such bowls there are a choice of colours to use.  When it is necessary to channel Blue to the Throat Chakra, it seems better to choose a bowl which works upon the Throat Chakra and that also produces the colour Blue upon the inner levels.  In such a case there are no conflicts (in Taoist terms there is no resistance) e.g. I once met a bowl practitioner who demonstrated a so-called Crown Chakra bowl to myself – however, this bowl, being the wrong tone (actually vibrating below the Throat Chakra and nowhere near any Chakra), did not affect the Crown Chakra but only his concentrated mental effort to force it to do so was present – which raises the question “Why use a bowl at all!?” alongside the dubious question of “Intention” used. Above and beyond the colours that certain bowls produce, some bowls are attuned to very specific Thoughts, e.g. Serenity, and I refer to these as being active upon the Mental Plane. There are other, rarer bowls, active upon even higher planes – Buddhic, Nirvanic, etc. So very special sacred bowls resonate with quite specific properties upon a number of different planes of being. Certain yogic practices in Tibet involve charging selected objects with such powers. When such energies are desired to be made manifest during the sound healing treatment, then the specific bowl will be used to assist in this work.  Certain such sacred and rare bowls are produced to the accompaniment of specific mantras attuned to their dedicated purpose. These qualities are mostly found in very old bowls – few persons alive today have the time or patience to spend charging bowls – either designed especially or charged as a result of years of dedicated spiritual practise.        

          ‘Mental Colour Healing’ applies colours according to their psycho-spiritual significance. Certain soul states likewise resonate with the qualities associated with certain colours. Schools differ somewhat in how they interpret the meanings of the several colours. I’m most at home with White Eagle’s interpretation. In colour healing the colours are visualised but in order to channel their energies effectively a certain absorption into the being of their spiritual vibrations is also necessary. Having studied and practised spiritual astrology since 1973, it has been possible to enter into this deeper significance of the several Colour Rays through their affinity with certain Planetary Rays. Each of these planetary Rays governs a specific course of spiritual unfoldment whereby certain spiritual qualities are developed and therefore, the combination of certain instruments, planets, and colour rays combine to help strengthen one or more of these several spiritual qualities in the recipient. The Seven Rays spoken of by the Theosophists and derivative schools likewise have affinity to the various colour and planetary rays whilst these seven fundamental rays can also be related to either one of the aforementioned Three-fold paths of Karma, Bhakti, or Jnana Marga.

            Using these sounds of such remarkable stillness, linked to meditation and other spiritual exercises, assists in leading the client into contact with their own deepest spiritual Centre – the ‘I AM’ – the Universal Cosmic Christ Spirit – or otherwise also nown variously as the Abiding Self; the Supreme Being; Divine Self; Para Atman, Solar Logos, etc. Sometimes I will silently chant certain simple, archetypal, spiritual affirmations such as “I AM Divine Love” etc, with the appropriate bowl, colour ray treatment, and spiritual vibration, according to the need of the patient. On other such similar occasions, I will also use a specific Tibetan singing bowl (e.g. “Audience with the Master Bowl”) in order to facilitate a meeting with the Higher Self of the patient – their ‘God-Self’ within; with their inner teacher (In-Tuition); with their personal spirit guide or current spirit helper, or even their spiritual Master – whether known to them or not!

          Sometimes a treatment might require the energy of a particular Element: – Earth, Water, Fire, Air and Space. Certain bowls are attuned to (or especially designed for entering into communion with) one of these five elements and accordingly will be selected for the patient at an appropriate moment of their treatment. Added to this, there are also a variety of techniques for playing the bowls and these numerous techniques also possess a connection to these several Elements. These Five Elements can also be connected with both Colours and with Planetary Rays and these associations provide other ways of applying the energies of the different Elements. In the pre-Buddhist religion of Tibet, the Bon, there was a whole body of teaching regarding this esoteric or metaphysical aspect of these basic elements. In remote antiquity these Elements were also related to certain spiritual Initiations. These ‘initiations’ are given by Life itself and are related to our inner growth; just as everyone experiences change of teeth and puberty during their physical growth. Therefore, we may be passing the tests of one or more of these elements at any one point in our life. Because few of us are prepared for, or even aware of, such tests we often experience such episodes as crises in our lives. If such challenges can be seen to have resulted in the inharmony present in the client, then this will also be taken into account when determining upon the course of the treatment for the individual patient.

          No single remedy is THE ANSWER to all ills. We find a Trinity in Tibetan Buddhism based upon three possible reactions to anything. (1) I love this sound. I want more! (2) I hate this sound. Take it away; stop it immediately! (3) I don’t know whether I like this sound or not. So, there is never one answer for all people. These three reactions can then be likened to one of three energies within each one of us: – Love (attraction), Will (repulsion), and Wisdom (confusion), or, to put it another way; Feeling, Willing, and Thinking. A patient might be learning lessons, or otherwise evolving, along any one or other of these main paths. The treatment will also vary because of this factor. These planetary qualities are found in certain special sacred bowls and are also linked to certain colours and chakras. I have studied and practised spiritual astrology since 1974 and my astrological knowledge is also utilised within the sound-healing sessions. On some occasions I will ask the client certain questions regarding their horoscope details (most often after the treatment) to assist me in confirming my observations regarding their needs.

          The sound healing session will close by returning to the 5 sets of Yang pairs again only this time playing them in a Descending order. However, sometimes it is necessary to include playing these in an Ascending order. Certain additional variations can occur during this closing ritual depending upon the perceived needs of the patient. Generally speaking, I could say that either a cooling down or a re-energising approach would predominate – and even a combination. This is realised through the degree of sound stimulation taking place plus the addition of extra bowls and other techniques applied during this closing process. In order to bring the energy level of the patient back for functioning in the physical body, it is helpful to use this combination of different Yang pairs, either in a descending (centring, ‘back to earth’ – grounding) pattern or in an ascending one (uplifting and revitalising). This can also, effectively, consist of ‘approximating’ either an Ascending or Descending musical interval along with the esoterically significant psycho-spiritual meaning of the chosen interval(s).

        Finally, I end by playing a special small Yang bowl three times and then, if necessary, an ancient Tibetan Meditation cymbal (Ting-Shag) three times. Before starting I explain to the patient that this particular sound will signal the end of my treatment and that they may then gradually begin to resume their life.


          The tones from the bowls balance the chakras, bring the subtle bodies into alignment, and create a balance between the left and right hemispheres of the brain. They can shatter accumulating negative energy within the chakras and the aura whilst also restoring the circular flow of energy inside the aura. They resonate with every cell in the body to release blockages and restore balance. They open and balance the meridians of the body and they improve the synapse response in the brain. The bowls and their unique tones have been used to restore blood pressure, reduce stress, release the soul from deep wounds, whilst also having been used with hyperactive children and they can stimulate the immune system.

 © Copyright by Frank Perry 1997 very slight revision 2003. All rights reserved. 


For permission to quote please apply to: 

 [email protected] 

© Frank Perry, 1997. All of these articles are copyright. They may individually be copied and shared with others in a spirit of knowledge-sharing and fair play, but they may not be sold, printed or reproduced in quantity or changed in form without the permission of the copyright holder. None of this material may be reproduced in workshops or lectures of any kind unless quotes are credited or properly attributed.  

Magazine and other editors may e-mail me for permission to reprint. E-mail:

 [email protected]  


Sound Healing sessions are arranged at Frank’s home in Ringwood, Hampshire costing £40 for a 75 minute session. These home sessions are between the hours of 11am and 3pm Monday to Friday. 

To do this call Frank on 01425-470168 

or email him – 


Frank is a member of IAST (International Association  of Sound Therapists)


You may like to view the 1998 Channel 5 demonstration  of Frank’s sound healing on youtube. Paste the following into your browser: –


You may also wish to read another version of this article on “Sound Healing with the Tibetan Singing Bowls” from 1999 for Caduceus Magazine.


You might also wish to check on the EVENTS list to see where and when sound healings are taking place around the country should you live too far from London or Ringwood.

An excellent way in which to follow up the sound healing treatments is via listening to Frank’s CDs of Tibetan Singing Bowl music most especially
















BEL CD 017        HIMALAYAN STUDIES   Vol. 1


BEL CD 018        HIMALAYAN STUDIES   Vol. 2


BEL CD 019        HIMALAYAN STUDIES   Vol. 3


BEL CD 020        HIMALAYAN STUDIES   Vol. 4


BEL CD 021        HIMALAYAN STUDIES   Vol. 5










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Hall, Manly Palmer: Words to the Wise.   (1963) 2nd ed

Hall, Manly Palmer:  Mysticism and Mental Healing.   (1963)

Hall, Manly Palmer: Basic Principles of Domestic Psychology.   (1964)

Hall, Manly Palmer: White Bird of Tao.   (1964) 2nd ed

Hall, Manly Palmer:  The Mystical & Medical Philosophy of Paracelsus.     (1964)

Hall, Manly Palmer:   Research on Reincarnation.   (1964)

Hall, Manly Palmer:  Questions & Answers on the Problems of Life.     (1965) 3rd ed

Hall, Manly Palmer:  The Four Seasons of the Spirit/Achieving the Miracle   of Contentment (1965)

Hall, Manly Palmer: HEALING the   divine art.  (1971) 2nd ed

Hall, Manly Palmer: Medicine of the Sun and Moon.   (19

Hall, Manly Palmer: Zen of the Bright Virtue.   (1971) 2nd ed

Hall, Manly Palmer: Reincarnation, The Cycle of Necessity.   (1971)   6th

Hall, Manly Palmer: From Death to Rebirth.   (1972)

Hall, Manly Palmer:  The Inner lives of Minerals, Plants ,& Animals.     (1973)

Hall, Manly Palmer: Death and After.   (1974) 9th ed

Hall, Manly Palmer: Mystics of Islam.   (1975)

Hall, Manly Palmer:  The Symbolism of Light & Colour.   (1976)

Hall, Manly Palmer: Past Lives and Present Problems.   (1977) 3rd ed

Hall, Manly Palmer: Unseen Forces.     (1978)

Hall, Manly Palmer: Initiates of Greece and Rome.  (1981)

Hall,  Manly Palmer: The Therapeutic Value of Music including the Philosophy of  Music.   (1982)

Hall, Manly Palmer: Venerated Teachers of the Jains, Sikhs & Parsis.     (1988)

Hall, Manly Palmer: Mystics and Mysteries of Alexandria.   (1988)

Hall,   Manly Palmer: Melchizedek and the Mystic Fire.   (1996)

Halpern,  Steven: Human Instrument. Keeping Yourself in Sound Health.     (1979)

Hamel,  Peter Michael: Through Music to the Self.     (1990) 

Heline, Corinne: Occult Anatomy and   the Bible.   (1940)  

Heline,  Corinne: Healing and Regeneration through Music.   (1943)

Heline, Corinne: Healing and   Regeneration through Colour.   (1943)

Heline, Corinne: Colour and Music   in the New Age.   (1964)

Heline, Theodore: The Archetype   Unveiled.   (1965)

Heselden,   T (& J. Higley): Exploring the use of Tibetan Bowls in the  treatment of adults with learning disabilities.    (97)

Hodson, Geoffrey:  MUSIC FORMS       (1976)

Hodson, Geoffrey:  CLAIRVOYANT   INVESTIGATIONS   (1984)

Hodgson, Joan: Wisdom in the Stars.     (1959) 2nd ed

Hodgson, Joan: Astrology, the   Sacred Science.   (1978)

Hodgson, Joan: The Stars and the   Chakras.   (1990)

Hodgson, Joan: A White Eagle Lodge   Book of Health and Healing.   (1983)

Hunt, Roland. T: Fragrant, and Radiant   Healing Symphony.   (1937)

Hunt, Roland. T: The Seven Keys to   Colour.   (1940)

Hunt, Roland. T: The Eighth Key to   Colour.   (1965)

Hunt, Roland. T: COLOUR: Key to the NU CLEAR AGE.     (1968)

Kenyon, Tom: BRAIN STATES.     (1994)

Keyes,  Laurel Elizabeth: Toning: The Creative Power of the Voice.     (1973)

Leadbeater, C.W: Man Visible and   Invisible.   (1969)

Lefebure, Dr Francis (trans K.B.   Wakelam): THE DEVELOPMENT OF THE BRAIN BY ALTERNATIVE AUDITION.     (1986)

Lievegoed, Bernard: PHASES     (1982) 2nd ed

Lievegoed, Bernard: Phases of   Childhood.   (1987)

Lingerman,  Hal: The Healing Energies of Music.     (1983)

Lingerman,  Hal: Life Streams.   (1988)

Maman,  Fabien: The Role of Music in the Twenty-First Century. Book 1 (1997)

Manners,  Peter, Guy: THE HIDDEN POWER OF VIBRATIONS. (Healing & Regeneration Thru  Music)   (1980)

Manners,  Peter, Guy: CYMATICS. SOUND Life’s Integrating Phenomenon.     (1980)

Mathieu,  William: The Listening Book: Discovering Your Own Music.     (1991)

Mayer, Gladys: Colour and the Human   Soul.  (1961)

McClelland,  Randall: The Healing Forces of Music: History, Theory & Practice.     (1988)

Mead, G.R.S: The Doctrine of the   Subtle Body.   (1967)

Miles,  Elizabeth: TUNE YOUR BRAIN using music to manage your mind, body &  mood.  (1997)

Nordoff-Robbins,  Clive & Paul: Creative Music Therapy.     (1977)

Oschman, James. L: Energy Medicine.     (2000)

Ouseley, S.G.J: Colour Meditations.     (1949)

Ouseley, S.G.J: The Science of the   AURA.   (1949)

Ouseley, S.G.J: The Power of the   Rays.   (1951)

Panchadasi, Swami: The Human Aura.     (1912)

Powell, A.E.:  The Mental   Body.   (1956)

Powell, A.E.: The Causal Body.     (1956)

Powell, A.E.: The Etheric Double.     (1960)

Powell, A.E.: The Astral Body.     (1965)

Rael,  Joseph: Being and Vibration.  (1993)

Rapgay, Lapsang: The Tibetan Book   of Healing.   (1996)

Robson, Arthur: MAN AND HIS SEVEN   PRINCIPLES.   (1973)

Rockwell, Irini: The Five Wisdom   Energies.   (2002)

Rudhyar, Dane: Modern Man’s   Conflicts.   (1948)

Rudhyar, Dane: Planetarisation of   Consciousness.   (1970)

Rudhyar, Dane: THE RHYTHM OF HUMAN   FULFILMENT.   (1973)  2nd ed

Rudhyar, Dane: Directives for New   Life.   (1973)  2nd ed

Rudhyar, Dane: We Can Begin Again,   Together.   (1974)

Rudhyar, Dane: Occult Preparations   for a New Age.   (1975)

Rudhyar, Dane: Culture, Crisis, and   Creativity.   (1977)

Rudhyar, Dane: PATHS to the FIRE.     (1978)

Rudhyar, Dane: Beyond   Individualism.  (1979)

Rudhyar, Dane: Beyond Personhood.     (1982)

Rudhyar, Dane: Individual Selfhood.     (1983)

Rudhyar, Dane: Rhythm of Wholeness.     (1983)

Rudhyar, Dane: The Fullness of   Human Experience.   (1986)

Ruperti, Alexander: Cycles of   Becoming.   (1978)

Saraydarian, Torkom: New Dimensions   in HEALING.   (1992)

Saraydarian, Torkom:   Transformation.   (2000)

Seashore,  Carl.E: Psychology of Music.   (1938)

Simmer-Brown, Judith: Dakini’s Warm   Breath.   (2001)

Stebbing,  Lionel: Music Therapy.  (1963)

Stebbing,  Lionel: Music and Healing.   (1963)

Stebbing,  Lionel: Music its Occult basis and Healing value.     

Steiner, Rudolf: The Four   Temperaments.   (1968 2nd ed)

Storr,  Anthony:  Music and the Mind.   (1992)

Tame,  David: The Secret Power of Music.   (1984)

Tansley, David. V: Subtle Body.     (1977)

Thondup, Tulku: The Healing Power   of the Mind.   (1996)

Thondup, Tulku: Boundless Healing.     (2000)

Tomatis,  Dr Alfred: The Conscious Ear.   (1990)

Wangyal, Tenzin: Healing with Form,   Energy and Light.   (2002)

Wilhelm. Richard: Secret of the   Golden Flower.   (1962)

Winston,  Shirley Rab: Music as the Bridge. Based on the Edgar Cayce Readings. (1972)

Zuckerkandl,  Victor: Sound and Symbol: Music and the External World. (1956)

Zuckerkandl,  Victor: The Sense of Music. (1959)

Zuckerkandl,  Victor: Man the Musician. (1973)



Ashley-Farrand, Thomas: MANTRA  Sacred Words of Power.   (1999)

Bushnell, Daniel: The Healing   Power of Music & Sound.   (1985)

Campbell, Don, G & Wilson, T: Healing Powers of Tone & Chant.     (1990)

Chopra, Deepak: SACRED VERSES, HEALING SOUNDS.   (1994)

Chopra, Deepak: Ageless Body, Timeless Mind.   (1997)

Chopra, Deepak: Everyday Immortality.   (1999)

Das, Lama Surya: Awakening the Buddhist Heart.   (2000)

Gardner, Kay: Music as MEDICINE.   (1998)

Gerard, Dr. Robert: Integral Psychology and Tibetan Yoga.   (1982)

Houston, Vyaas: BIJA MANTRA Chakra Tuning & two meditations.     (1996)

Hall, Manly Palmer: Paracelsian Philosophy (5 X 2 hr Tapes)   (1983)

Hall, Manly Palmer: Pythagoras on the Therapeutic Value of Music.     (1983)

Hall, Manly Palmer: The Transformation Mystery.   (1983)

Hall, Manly Palmer: Sacred Mysteries of the Human Body.   (1983)

Hall,   Manly Palmer: The Therapeutic Value of Great Art.   (1983)

Hall, Manly Palmer: Esoteric Alchemy.   (1984)

Hall, Manly Palmer: Studies in Man Grand Symbol of the Mysteries (5 X 2hr Tapes)     (1984)

Hall, Manly Palmer: Psychological Theory & Practice (5 X 2 hr Tapes)     (1985)

Hall, Manly Palmer: Exploring Dimensions of Consciousness (5 X 2hr Tapes)     (1985)

Hall, Manly Palmer: Five Paths of Yoga. (5 X 2hr Tapes)   (1987)

Loomis, Evarts. G.: The Dimensions of Music in the Healing Process.     (1984)

Pehl, Verna: Let’s find Our Note and Sing It.   (1985)

Petkus, Janetta: MUSIC FOR AYURVEDA  (3 Cassettes).

Rudhyar, Dane: On Fate and Free Will.   (1977)

Rudhyar, Dane: The Symbolic Life.   (1978)

Rudhyar, Dane: Occult Preparations for a New Age.   (1978

Rudhyar, Dane: The Philosophy of Cyclic Activity.   (1979)

Rudhyar, Dane: The Relationship Between Psychological Problems and   Transpersonal Living.   (1980)

Wise, Anna: high performance mind.   (1998)


Allione, Tsultrim:   The Mandala of the Enlightened Feminine.   (2003)

Ashley-Farrand, Thomas: HEALING MANTRAS. 

Beaulieu, John: CALENDULA A   Suite for Pythagorean Tuning Forks.   (1997) 

Cook, Pat Moffitt: Shaman, Jhankri & Nele, Music Healers of Indigenous   cultures.   (1997) CD & Book

Ma, Shri Anandi & Pathak, Shri   Dileepji: HEALING MANTRAS.   (1997)

Monastery, Drepong Loseling   (monks): Sacred Music, Sacred Dance.   (1991)

Monastery, Gaden Shartse (monks):   Sacred Healing Chants of Tibet.   (1989)

Shanghai Chinese Traditional   Orchestra: Yi-Ching Music for Health  WOOD   (1991)

Shanghai Chinese Traditional   Orchestra: Yi-Ching Music for Health  FIRE   (1991)

Shanghai Chinese Traditional   Orchestra: Yi-Ching Music for Health  EARTH   (1991)

Shanghai Chinese Traditional   Orchestra: Yi-Ching Music for Health  METAL   (1991)

Shanghai Chinese Traditional   Orchestra: Yi-Ching Music for Health  WATER   (1991)

Shanghai Chinese Traditional   Orchestra: Yi-Ching Music for Health  REGIMEN   (1991)

Central Chinese Music College   Orchestra: Chinese Five Tones Healing Music  CHUEH TONE     (1992)

Central Chinese Music College   Orchestra: Chinese Five Tones Healing Music   JYY TONE     (1992)

Central Chinese Music College   Orchestra: Chinese Five Tones Healing Music  KUNG TONE   (1992)

Central Chinese Music College   Orchestra: Chinese Five Tones Healing Music  SHANG TONE     (1992)

Central Chinese Music College   Orchestra: Chinese Five Tones Healing Music  YU TONE   (1992)

Shanghai Chinese Traditional   Orchestra: Chinese Feng Shui Music  DRAGON   (1995)

Shanghai Chinese Traditional   Orchestra: Chinese Feng Shui Music  PHOENIX   (1995)

Shanghai Chinese Traditional   Orchestra: Chinese Feng Shui Music  SERPENT   (1995)

Shanghai Chinese Traditional   Orchestra: Chinese Feng Shui Music  TIGER   (1995)

Shanghai Chinese Traditional   Orchestra: Chinese Feng Shui Music  TORTOISE   (1995)

Shanghai Movie Music Group:   Harmony Music for Cultivating Health in the Seasons  1   (1991)

Shanghai Movie Music Group:   Harmony Music for Cultivating Health in the Seasons  2   (1991)

Shanghai Movie Music Group:   Harmony Music for Cultivating Health in the Seasons  3   (1991)

Shanghai Movie Music Group:   Harmony Music for Cultivating Health in the Seasons  4   (1991)

Shanghai Movie Music Group:   Harmony Music for Cultivating Health in the Seasons  5   (1991)


Campbell, Joseph:  MYTHOS   2:1  The Inward Path.   (1997)

Campbell, Joseph: MYTHOS   2:2  The Enlightened One.   (1997)

Campbell, Joseph: MYTHOS  2:3  Our Eternal Selves.   (1997)

Campbell, Joseph:  MYTHOS   2:4  The Way to Illumination.   (1997)

Campbell, Joseph:  MYTHOS  2:5  The Experience of God.   (1997)

Das, Lama Surya: Energy Yoga.   (2000)

Das, Lama Surya: Natural Meditation.   (2000)

Dass, Ram: Abide as the Self – the Teachings of Ramana Maharshi.     (1998)

Goldman, Jonathan: Healing Sounds.   (2001)

Kenyon, Tom: Sound Healing.   (no date given)

Myss, Caroline: The Energetics of Healing.  (no date given)

Myss, Caroline: Three levels of Power and How To Use Them.  (no date given)

Nath,   Pandit Pran: IN BETWEEN THE NOTES.   (1986)

Reichle, Franz: The Knowledge of Healing.   (1996)

Volk, Jef: of Sound Mind and Body.  (1992)



man’s subtle bodies & centres the aura, the solar plexus, the chakras Omraam Mikhael Aivanhov        1987
The Serpent Power the secrets of tantric & shaktic yoga Arthur Avalon   1918
CHAKRAS roots of power Werner Bohm   1991
Spiritual Centres in Man Manly P Hall  
The Occult Anatomy of Man Manly P Hall   1929
Collected Writings Volume 3 Manly P Hall   1962
Man, Grand Symbol of the Mysteries Manly P Hall   1972
CHAKRAS energy centres of transformation Harish Johari   1987
Wheels of Life.    A user’s guide to the Chakra System Anodea Judith   1996
Eastern Body, Western Mind Psychology & the Chakra System as a Path to the Self Anodea Judith   1996
The Chakras and the Human Energy Fields Shafia Karagulla & Dora van Gelder      Kunz   1989
The Chakras & Esoteric Healing Zachary F. Lansdowne   1986
The CHAKRAS a monograph C.W.Leadbeater   1927
Science and the Evolution of Consciousness,Chakras, Ki and Psi Hiroshi Motoyama with Rande      Brown   1978
Theories of the Chakras:      Bridge to Higher Consciousness Hiroshi Motoyama   1981
A Chakra and Kundalini Workbook Psychospiritual techniques for Health, Rejuvenation, Psychic Powers & Spiritual Realisation John Mumford   1995 2nd      revised edition
Kundalini and the Chakras.     A practical manual. Evolution in this lifetime. Genevieve Lewis Paulson        1991
Understanding the Chakras Peter Rendel   1990
Chakra Therapy for personal growth and healing Keith Sherwood   1993
Chakras-Rays & Radionics         David V. Tansley        1984
Ray Paths & Chakra Gateways      An Approach to Spiritual Psychology Through Radionics   David      V. Tansley   1985
Kundalini Tantra Swami Satyananda Saraswati        1984
Journey Through the Chakras Exercises for healing and internal balancing Klausbernd Vollmar   1987
Chakras and their Archetypes Ambika Wauters   1997

 © Copyright by Frank Perry 1997 Bibliography added 2004. All rights reserved.


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