I haven’t written in a while. I’ve been spending time on several projects including working on my chops on the double bass. A few days ago, I was reading an article about soloing on double bass and ran across some comments from Jason Sypher, bassist extrodinare, that immediately made me think about the mental benefits of Kundalini. I’ve long thought that musicians should take Yoga classes for the relaxation and physical benefits – in fact, classes could be geared toward musicians to help them with posture, breathing, and stamina while performing. Jason’s comments below steered me in another complimentary area with Kundalini and music – that of becoming the fearless warrior while soloing.
Also try a bit of soloing by the seat of your pants, totally “by ear”. Open your ears wide, breathe, and start playing. When you combine that “open/listening/fearless” way of playing with a sense of moving tonal centers (rather than the cumbersome “chord to chord” thinking) you’ll find that you hit more than you miss and, eventually lose the fear of “missing” at all. In my experience this is the best way to hear your own voice and develop your sound…..Jason Sypher
Here’s a call to Yoga enthusiasts and musicians. Are there any special combination of kriyas and mantras that musicians can use to help develop this open/listening/fearless way of performing music? Are there chants/kirtans that can reinforce the linear approach to music as Jason describes in “moving tonal centers”? As a musician, are there regular routines you use to help you reach this state of mind?
BTW, do yourself a favor and check-out some of Jason’s work on YouTube and with various groups. He’ll make your socks roll down and roll back up again!
I have played both ways for so long now, and all yoga postures help me keep my confidence, breathing, and posture in gear for the linear playing, as well as playing the changes.
Gerald
Gerald’s comment above is of course accurate…but it can be taken further. In Tantrck scriptures you will see they always assign a number of prescribed times one should say a chant…the number is usually very high…from 250,000 to 500,000 times. This could take many weeks, say if you are putting in 2 hours a day. Many years back I took a few mantras and went for it. The numbers have no big significance other than if you say a mantra that many times…exaggerating the movement of the mouth and jaw…eventually the small muscles and ligaments in the jaw, back of the neck, and face become so fluid that the skull bones begin to shift. Then the actual sounds start to reshape physical structures in the brain. This definitely adds to the fluidity of anything you do.
So first I do strong navel kryias…So Darshan is a great one…This keeps you grounded. When you are magnetically grounded…you feel more at ease in “letting go”…you can “soar” in your inner visions knowing you won’t get lost…you always feel the grounded connection….Then I would do any of the kundalini that moves the ojas up the spine into the head…..”long eks”…Sat kryia…etc……..Yogi Bhajan used to call this “oiling the brain”… Then start the 2 hour chanting. This pumps the ojas into the deepest cavities of the brain…allowing fuel for ‘high flight’…haaaaaa…eventually you become more used to holding this expanded altitude…and the fingers will do amazing new things……
I suppose you could do this using any mantra…but why not tape into a rich and old archetypal resonance…I would use any of the Saraswati chants…since she gives the gifts of any artistic and cultural abilities………
Get those jaws movin
Kirantana
Hey, Johnny–I’ve been enjoying practicing something called Svaroopa (or, affectionately, “blankie”) yoga since the spring. It’s a kind of Hatha yoga where one uses a number of blankets as support for various postures and for weight and warmth during meditation. It’s been good for my back.
Your posting makes me wonder about a parallel benefit one might experience in the realm of visual art–using yoga to reach a positive, fearless state of mind while working. Yesterday, I went to a panel discussion at the VMFA with world-renowned photographer, Sally Mann, and was struck by her self-effacing manor. A woman known for her bold–sometimes controversial–images, one might assume this to be false modesty, but I don’t think so. It sometimes seems as if a certain element of dissatisfaction is part of what pushes an artist to better work, but not so much as to stymie. I often wonder about the fine line between the two.
PS–I did check out Jason Sypher. As a visual artist, in addition to the music, I enjoyed watching the shapes his hands made against the black background as he played!