The sound bath with overtone-emitting instruments such as Himalayan singing bowls, Quartz bowls, Gongs and Didgeridoo as well as the Overtone-singing has the ability, through its different frequencies, to simultaneously work both our physical body, as well as our subtle body.
The common characteristic that all these instruments share is that they all have just one note. In addition, this note, is the lower note or frequency of the instrument and serves as the basis on which a series of notes or higher frequencies (called overtones or partials) are “deployed”. We call this note “fundamental”. These overtones constitute the sound richness of the instrument, and hence they are known as “overtone-emitting” instruments. The image we can think of here is that of a tree and its branches, the trunk being its fundamental note and the overtones its branches.
Well, the way we perceive the sound of these instruments in a sound bath can be separated into different levels.
The first level is what we perceive, mainly, through listening. The sound wave travels from the instruments to our ears and after a series of steps our brain decodes it. It is for this reason that our brain activity (which we can measure in Hz) lowers frequency and we experience the effects of either a deep meditation (0.5 – 4 Hz), an increase in creativity (4 – 7.5 Hz) or an increase in the concentration and imagination (7.5 -14 Hz).
But this is not the only way that sound can affect us, there is more. Sound is a vibratory wave that propagates more quickly through water than through air. Now, if we remember that our body is constituted in a 70 percent by water, what effect would then have on it in a session where different instruments sound simultaneously and the display of overtones and fundamental notes is sustained for a minimum of 45 minutes? Well, the frequencies when they touch our bodies are accelerated by traveling through the water present throughout our body, to very deep levels, allowing the vibrations to assimilate at a cellular level.
And here comes the most interesting, a study by a French musician has shown that when the sound comes into contact with a cell, it responds by changing its shape and colors, increasing its brightness and brightness, forming different mandalas, and giving it an effect regenerator. It is as if the cell “breathes” the sound and then expresses the well-being that this produces.
Finally, sound also affects our subtle body or aura. Our aura surrounds our physical body and it is where densities are deposited that can be created by negative patterns, whether external (electromagnetic waves: computer, mobile phones, television) or internal (thoughts, emotions) When an area of this field is is affected, and is not treated, we experience a blockage, and the consequence of this is the possible appearance of a disease. If the fundamental is the lower note of the instrument and mainly the one in charge of affecting our physical body with its frequency, it is the overtones that are in charge of acting in our subtle body, the way they do it, it is in the same way that the sound works in our cells, that is, entering our auric field and making it breathe.
The sound of the overtones offer space and time between the fundamental notes, and it is this space, created by the overtones, responsible for releasing negative accumulated patterns from our aura, and opening it to new information.
When we receive a session of overtone sounds we do nothing but return to what we really are: energy that flows freely, spirit fully present, that is, aethernal.
The sound of these instruments elevates our vibratory frequency, taking us to a place where only calm and well-being reign. It brings us back to our origin, to our state of presence, to the reconnection with the here and now, and with full awareness. A place where we can project ourselves towards a better future from health.
Ignacio Dattilo (1976). I was born in Buenos Aires and from an early age I felt a natural inclination for sound, which led me for more than 30 years to study music and different instruments, among which are: guitar, didgeridoo, native percussions, overtone-singing, Himalayan singing bowls, Quartz bowls, Gong, among others. For more than four years I have been exclusively dedicated to work and study sound in its healing and meditative dimension, having taken different courses, mainly in Buenos Aires and Barcelona. Today I offer group sessions and individual healing sessions with sound, therapeutic sound training workshops and collaborations in different projects, all related to the expansion of consciousness and healing. One of them is Isha Project, a group formed by Isabel Cervantes, in which we work musically with mantras, devotional songs and songs to the earth, in order to heal our relationship with the planet.