Tibetan Singing Bowl

According to popular belief and supported by several recent scientific studies, Tibetan singing bowls offer many benefits. These can include reduced stress, lower blood pressure, and less anxiety. More specifically, some studies have observed a drop in cortisol levels (a hormone closely linked to stress) after using a Tibetan singing bowl. Users have also reported improved mood and better sleep quality when it’s played for a few minutes before bedtime. Finally, this Asian instrument may help relieve certain symptoms of serious conditions such as schizophrenia and Alzheimer’s, which is why more and more doctors recommend it alongside conventional medical treatment. One study also explored the use of this instrument in addiction support, but did not reach any clear, definitive conclusions about potential benefits.

Beyond these more pragmatic findings, many energy-work practitioners believe the bowl has other benefits, such as cleansing a space, cleansing crystals used in lithotherapy, or supporting the immune system. Others use it during reiki sessions or to help balance the body’s main chakras. That said, none of these effects have been scientifically proven.

In any case, a Tibetan bowl cannot replace real medical treatment. It should only be used alongside it, as a way to support everyday well-being.

The choice between a metal Tibetan singing bowl and a crystal one depends on several factors:

• Manufacturing: A metal Tibetan singing bowl is traditionally made by hammering a disc of seven-metal alloy for several hours by a group of artisans. A quartz crystal bowl consists of silica melted in a mould heated to over 4,000 degrees. Invented in the late 20th century, this type of bowl should not be considered if you are looking for a traditional, ethnic instrument. Instead, crystal bowls are recommended for therapeutic use.
• Acoustics: Metal Tibetan singing bowls produce rich, deep harmonics. In other words, the bowl does not actually play a single musical note but rather a group of notes, one of which stands out prominently. As its name suggests, a crystal bowl produces pure, crystalline tones, giving it a distinctive sound signature. The best approach is to listen to both types of bowls using the videos on each product page before making your choice.
• Health benefits: Studies show that the observed benefits are equally present whether a crystal or metal singing bowl is used. However, for specialised chakra work, a quartz crystal bowl is preferable because of the precise notes it can produce.
• Price: At the same diameter, metal Tibetan singing bowls are often less expensive than their quartz crystal counterparts. For example, if your budget cannot exceed NZ$200, there is no point in considering a crystal singing bowl.
• Durability and maintenance: In terms of durability, metal bowls are very sturdy and will not break or crack from a moderate impact, unlike crystal models. However, quartz crystal requires virtually no maintenance, whereas a metal Tibetan singing bowl can rust. You should therefore be more careful when using the latter.
• Aesthetics: Metal bowls offer a distinctive look, especially if you choose one with exquisite engravings. Each is a unique, handcrafted work of art. Crystal singing bowls are usually white, sometimes with a symbol printed on them.

You should therefore clearly identify what you expect from this instrument to determine the perfect model for you. For more details on this topic, read our article, which will help you choose between a metal or crystal Tibetan singing bowl.

Some instruments are specially tuned to produce a specific musical note when played. According to Hindu tradition, each of the seven musical notes is associated with one of the seven major chakras in the human body. Therefore, depending on what you expect from the instrument, you may want to select a specific musical note. If this aspect does not appeal to you, you can choose your future Tibetan singing bowl without considering this criterion.

The notes available for singing bowls generally correspond to the C major diatonic scale: C, D, E, F, G, A, and B. To avoid ending up between two chakras, it is best not to select a singing bowl tuned to a sharp or flat note.

• C - Root Chakra (Muladhara): associated with security, survival, self-confidence, and connection to the earth.
• D - Sacral Chakra (Svadhisthana): linked to creativity, relationships, and sexuality.
• E - Solar Plexus Chakra (Manipura): related to personal power, organisation, and emotional management.
• F - Heart Chakra (Anahata): related to compassion, friendship, empathy, and love.
• G - Throat Chakra (Vishuddha): associated with communication and expression.
• A - Third Eye Chakra (Ajna): associated with intuition and self-understanding.
• B - Crown Chakra (Sahasrara): related to spirituality and wisdom.

Finally, keep in mind that the note produced by a Tibetan singing bowl cannot be changed later. Therefore, the only option is to purchase another instrument if you want to target a different chakra. That is why Instruments du Monde offers sets of seven singing bowls that cover all the major chakras. Click this link to learn more about choosing a musical note for a Tibetan singing bowl.

In most cases, musical instruments are tuned to a frequency of 440 hertz. Tibetan singing bowls are no exception: when no frequency is specified, it generally means the bowl is tuned to 440 Hz. However, some people believe that tuning to other frequencies could have beneficial effects on the musician and the listener. That’s why some makers offer Tibetan singing bowls tuned to 432 and 528 Hz. Most of the time, singing bowls tuned to 432 or 528 Hz are made from quartz crystal because achieving that level of accuracy requires precision that artisans in Tibet, Nepal, or Bhutan typically can’t guarantee.

Regarding frequencies:

• The 440 Hz frequency is the standard used in contemporary music and is usually perceived as more familiar. If you want to play with other musicians, it’s best to choose this frequency because an instrument tuned to 440 Hz and another tuned to 432 Hz are not compatible.
• The 432 Hz frequency is often described as being in harmony with the Earth and nature. Some people say it feels more relaxing and soothing.
• The frequency of 528 Hz is often associated with DNA repair and is considered by some to be a healing frequency. Some music therapy practitioners use it as part of their professional work.

However, it’s important to note that there is currently no scientific evidence to support the supposed benefits of these frequencies. As a result, their effectiveness cannot be guaranteed.

The origins and history of the Tibetan bowl remain largely unknown. According to certain legends and stories shared by some practitioners, this instrument may date back about 5,000 years to Mongolia. At the time, nomadic blacksmiths are said to have forged metal bowls as kitchen utensils. These bowls supposedly caught the attention of Mongolian shamans, who began using them in mystical rituals. Later, the singing bowl is said to have been adopted in Tibet by practitioners of the Bön religion, then spread among Buddhist monks in monasteries across India, China, Nepal, and Bhutan. According to these legends, an encounter between Tibetan miners and Nepalese blacksmiths led to a new way of making the instrument—adding seven metals to create the deeper, more powerful vibrations associated with the bowls we know today.

However, there is no written evidence to support these legends. In addition, metallurgical analyses of relatively old Tibetan bowls show they were made primarily from copper and tin, sometimes with added iron—far from a seven-metal formula. Research by journalist Perceval Landon around the 1900s and by ethnomusicologist Daniel Scheidegger in 1988 also doesn’t really mention the existence of such an instrument. Some people claim the Tibetan bowl emerged with the rise of tourism to Tibet in the 1970s. Others argue that the lack of references in Tibetan literature was intentional, meant to hide the bowls’ existence from the Chinese after the 1950 invasion. At present, it’s impossible to confirm any of these theories with certainty.

In any case, the term "Tibetan bowl" first appeared on the cover of Nancy Hennings and Henry Wolff’s 1972 album Tibetan Bells, recorded shortly after they travelled through the Himalayan mountain range. It’s also worth noting that Tibetan bowls share strong similarities with the Japanese "rin" or "dobachi," both used in Buddhist rituals. This could suggest that singing bowls have existed for a very long time and have influenced neighbouring cultures. Today, Tibetan bowls can be found almost everywhere in the Himalayan countries. In Kathmandu or Patan, you’ll find hundreds of Tibetan singing bowl vendors in the markets, selling them for both commercial and therapeutic purposes.

The origins of quartz crystal singing bowls, on the other hand, are well documented: they were developed by the French company Saint-Gobain in the 1980s using a technology that melts and solidifies silica to create these crystal instruments.

Finally, Tibetan singing bowls shouldn’t be confused with Taoist bowls, which are played with water inside by rubbing two handles built into the instrument. In short, the exact origins of Tibetan metal bowls are still difficult to prove, but today, they’re a recognised part of Tibetan culture and are widely used in therapeutic and sound-healing settings.

Although generally harmless, Tibetan singing bowls may have certain contraindications and side effects, primarily related to their sound, vibrations, and materials.

• Sound volume: Striking a Tibetan singing bowl too hard can produce excessive volume that could damage your hearing. Therefore, it is important to use your musical instrument with a reasonable striking intensity. Since volume is also related to the instrument’s size, read our article to help you choose the right size for your Tibetan singing bowl.
• Materials: While there are no contraindications to using a quartz crystal singing bowl, metal Tibetan singing bowls sometimes concern people who want to embark on this sonic journey. Seven-metal Tibetan singing bowls contain lead and mercury, which can be unsettling. However, only trace amounts of these metals are present in the bowl. In the 50 years that Tibetan singing bowls have been used in the West, no cases of poisoning from these metals have been reported.
• Vibrations: There is absolutely no danger in listening to the vibrations of a Tibetan singing bowl as long as the volume remains at a reasonable level. However, some people use them for sound massages, in which one or more bowls are placed on a person’s body and then made to vibrate by a second person. In this situation, care must be taken to ensure that the weight of the instruments is appropriate for the recipient’s body type, and to be mindful of the vibrations, which can be intense and may not be suitable for individuals with back pain.
• Pregnancy: As a precaution, pregnant women should not use a Tibetan singing bowl by placing it directly on their abdomen. Although the medical community has identified no contraindications, no one truly knows what the potential effects on the foetus may be.
• Epilepsy: In rare cases, Tibetan singing bowls could trigger epileptic seizures. They are therefore not recommended for people with epilepsy.

Therefore, the vast majority of people interested in using a Tibetan singing bowl can do so without difficulty.

There are two main techniques for playing or making a Tibetan singing bowl sing.

The first involves using a mallet or beater to strike the Asian instrument directly and sharply on its outer rim, much like a drum. This creates vibrations, with the bowl acting as a sort of resonating chamber. The intensity of the vibrations depends mainly on how hard you strike the bowl.

The second method, which is more complex but, in our opinion, more interesting, involves playing the Tibetan singing bowl by rubbing it. First, still using a mallet, strike the outer wall of the bowl. This action is called the “impulse.” Immediately afterwards, simply rub the Tibetan singing bowl with the mallet along the outside of its rim. There is no need to move quickly, but it is important to maintain a steady motion and position the mallet correctly. With this technique, the Tibetan singing bowl will vibrate and produce tones different from those obtained with the first technique.

If you have not watched it yet, a video just above demonstrates both techniques with this Asian instrument. To help you choose the right accessory, read my article on choosing the best mallet for a Tibetan singing bowl.