Five Healing Sounds

1. INTRODUCTION

The Five Healing Sounds are based on the names of the five tones of the Chinese musical scale: GONG, SHANG, JUE/JIAO, ZHI/ZHENG, and YU. Each of these sounds is associated with one of the five elements: Wood, Fire, Earth, Metal, and Water.

Wood represents new beginnings and growth; Fire represents culmination and activity. Earth is associated with the search for balance, Metal represents decline and contraction, while Water represents dispersion and stillness. Water nourishes Wood, Wood fuels Fire, Fire produces Ash (Earth), Earth contains Metal ores, and Metal minerals enrich Water. This is the cycle of support. If we move two elements forward in the cycle, however, we obtain forces of pressure, threat, or attack. Water extinguishes Fire, Fire melts Metal, a Metal axe cuts down a tree, plants deplete the Earth, and Earth can contain Water.

The Five Sounds are used to activate the energy of individual organs associated with these elements or to help regulate the emotions associated with them. They may be spoken aloud or repeated mentally. When pronouncing the sounds, we do not use the musical pitch they represent. Instead, we use them as mantras.

In 2004, I was introduced to the Five Healing Sounds by my former teacher, Lea Zgonik Cestnik. We used the sequence KONG, SHANG, CIAO (JIAO), ZHENG, and YU, corresponding to the sequence of the elements Earth, Metal, Water, Wood, and Fire. We combined the mantras with two additional sounds, SHAO and T’AI, to facilitate the circulation of energy and to cleanse the organs, followed by filling them with refreshed subtle energy, or Qi. We always began with the Earth element and ended with the Fire element. The sounds were practiced aloud and drawn out, without distinguishing between tones, while using specific hand positions.

2. HISTORY OF THE FIVE SOUNDS

The Qigong practice of the Six Healing Sounds is generally well known around the world: Xu for the liver, He for the heart, Hu for the spleen, Si for the lungs, Chui for the kidneys, and Xi for the Triple Burner and Pericardium. Both forms of healing sounds originated in China. The Six Healing Sounds are first mentioned in the fifth or sixth century CE. Less well known to the general public is the practice of the Five Sounds, which at the same time represent the five tones of the traditional Chinese musical scale:

• GONG (宫) — the tone Do/C
• SHANG (商) — the tone Re/D
• JUE (角) — the tone Mi/E
• ZHI (徵) — the tone Sol/G
• YU (羽) — the tone La/A

According to one story, the Five Healing Sounds came into use long ago, when a Qigong master prescribed them to an emperor who was having difficulty satisfying his large number of wives. Through regular practice, the emperor supposedly strengthened his sexual vitality and thereby prolonged his life. That is simply the story as it has been passed down to the present day. Such stories do not need to be taken literally. In order to reinforce their authority, almost all important systems of Chinese metaphysics trace their origins to some kind of mythological framework. We can therefore regard such accounts as a form of traditional Chinese “storytelling.” If we look at the actual history of these exercises, they developed before the second century BCE, during the earlier period of Chinese history.

All five healing sounds are already mentioned in the Yue Ling, which was written before 240 BCE. The sounds, or musical tones, are presented according to the doctrine of the Five Elements as Jue for Wood, Zhi for Fire, Gong for Earth, Shang for Metal, and Yu for Water. The values appear to have been deliberately mixed up so that the general public would not understand the mantras and their connections with the elements. In reality, the individual words function as mantras that activate specific organs, and it appears that these mantras were subsequently used as the names of the musical tones.

The cycle of the Five Elements follows the sequence Wood–Fire–Earth–Metal–Water in an endless repetition. The Huai Nan Zi, a work from the second century BCE, contains a passage referring to an earlier work from the fourth century BCE and mentions the energetic sounds in the correct sequence:

• Earth = GONG, pronounced “GOONG,” and the tone “C”
• Metal = SHANG, pronounced “SHAHNG,” and the tone “D”
• Water = JUE, pronounced “JOO-WEH,” and the tone “E”
• (no element = the tone “F”)
• Wood = ZHI, pronounced “JIR,” and the tone “G”
• Fire = YU, pronounced “YÜ” or  “Ü”, “UEE”; the sound Ü/“UEE” is pronounced like “OO,” but with the lips rounded, as in German. The tone is “A.”
• (no element = the tone “B”)

The secret use of precisely this sequence and its connections with the elements was later concealed in mantras that appear in the form of Chinese numbers. From the system of numerical mantras taught by Dr. Zhi Chen Guo (1943–2011) and revealed to an English-speaking audience by his student Dr. Zhi Gang Sha, it is evident that the number yī (1) corresponds to the sound Yu, sān (3) corresponds to Shang, qī (7) corresponds to Zhi, and jiǔ (9) corresponds to Jue/Jiao.

3. WHAT IS THE SUPPOSED PURPOSE OF CHANTING THESE SOUNDS?

These vocal exercises belong to Healing Qigong. Healing Qigong is a metaphysical approach to the body and human energy that deals with the supposed balancing of subtle Qi energy and, through this, the supposed healing of the body. According to the doctrine of Healing Qigong, there are specific sounds that resonate with particular organs, thereby supposedly producing a kind of internal balancing of them. The practice is not limited to physical exercise—the meridians and the energy flowing through the stimulated meridians are also supposedly activated.

The purpose of the practice is to tonify the energetic state of the organs and their meridians and to detoxify the organs. For this reason, certain ordinary reactions may sometimes occur during practice, such as belching, tearing, changes in heart rate, gas, sudden diarrhea, and similar reactions. The practice is supposed to strengthen and balance the meridians and organs, at least to some degree. Where energy is deficient in the meridians and organs, its presence is increased. Where energy has become stagnant, the exercises attempt to remove it or set it in motion so that it can subsequently become available to other organs. The intended result is greater energetic harmony, which is in turn supposed to promote greater physical health as well as greater emotional balance.

4. SILENT OR AUDIBLE SOUNDS?

Unlike the Six Healing Sounds, the Five Healing Sounds may be practiced quite aloud. If desired, they may also be practiced silently, mentally. The sound can simply be pronounced normally, but if we want to prolong its effect, we often draw it out, for example: GOOOOOONG, SHAAAAAAHNG…

If the sound is repeated only mentally, we generally practice it while exhaling. The mouth can be slightly open in a gentle smile, with the back of the tongue pressed downward and the front of the tongue slightly drawn backward and raised. Alternatively, you can simply rest the tongue against the roof of the mouth.

5. ASSISTANCE WITH THE SOUND EXERCISES: STATIC HAND POSITIONS

The static hand positions used in the practice of the Five Sounds may originate from an ancient form of stretching Qigong. However, the static hand positions also produce some of the milder effects associated with Zhan Zhuang Qigong. Zhan Zhuang refers to stationary standing energy exercises in which one maintains a still standing position. A variation of this is stationary seated Qigong.

Because the static hand positions used with the mantras are more likely to originate from stretching exercises and are not classical stationary Qigong exercises, they do not carry the same risks as certain advanced stationary Qigong practices. They can therefore also be performed while sitting in a chair.

Nevertheless, I do not recommend assuming bodily positions around or above the head without simultaneously practicing the mantras. In other words, the vocal exercises can be performed without the hand positions — for example, while driving — but the hand positions should by no means be practiced without simultaneously practicing the Healing Sounds.

6. WHAT VARIATIONS OF THE MANTRAS ARE AVAILABLE FOR EACH ELEMENT?

Some of the mantras have additional variations, while others do not. Below is an overview of the sounds associated with the Five Elements.

• Earth and GONG (宫), pronounced “GOON(G).” The final NG has no audible G. Such an NG is sometimes written as Ŋ. The GONG mantra represents the Earth element, the spleen, pancreas, and stomach. In Qigong, the alternative and less suitable sound KONG is sometimes used; it is pronounced “KON(G).” Both sounds have a slight downward-moving effect on energy.

• Metal and SHANG (商), pronounced “SHAHN(G).” It represents the Metal element, the lungs, and the large intestine. The energy of this sound tends to move upward.

• Water and JUE (角), pronounced “JOO-WEH.” In Qigong, JIAO is sometimes used as an alternative, pronounced “JYOW/JEE-AH-OH,” as is CIAO, pronounced “TSYOW/TSEE-AH-OH.” It represents the Water element, the kidneys, and the bladder. These sounds direct energy upward.

• Wood and ZHI (徵), pronounced “JIR” or “JƏR.” In Qigong, the sound ZHENG is sometimes used, pronounced “JHNG” or “JƏNG.” It represents the Wood element, the liver, and the gallbladder. All variations of the sound initiate an upward movement of energy.

• Fire and YU (羽), pronounced “Ü” or “YEE-OO;” the sound Ü/“UEE” is pronounced like “OO,” but with the lips rounded, as in German. It represents the Fire element, the heart, small intestine, and brain. It concentrates energy and often directs it upward. Alternatively, the sound HU (“HOO”) may be used. It also activates the heart but allows energy to move downward. Unfortunately, this sound is not as suitable for the brain and small intestine as YU is.

7. COMBINING THE FIVE SOUNDS WITH THE SHAO AND T’AI MANTRAS

The practice of the Five Sounds can be combined with the mantras SHAO (捎) and T’AI (汰), which move part of the Qi energy through the Small Heavenly Circuit (Xiao Zhoutian). With each sound, we first cleanse the energy using the T’AI mantra and then strengthen the fresh energy using the SHANG mantra:

• T’AI GONG (汰宫) 6 times (maximum 30 times) + SHAO GONG (捎宫) 6 times (maximum 30 times)
• T’AI SHANG (汰商) 6 times (maximum 30 times), SHAO SHANG (捎商) 6 times (maximum 30 times)
• T’AI JUE (汰角) 6 times (maximum 30 times), SHAO JUE (捎角) 6 times (maximum 30 times)
• T’AI ZHI (汰徵) 6 times (maximum 30 times), SHAO ZHI (捎徵) 6 times (maximum 30 times)
• T’AI YU (汰羽) 6 times (maximum 30 times), SHAO YU (捎羽) 6 times (maximum 30 times)

Special warning: If you practice the Five Healing Sounds using the additional mantras SHAO and T’AI, always perform the exercise with the T’AI mantra first and only then practice the SHAO sound. The T’AI sound cleanses old subtle energy, or old Qi, while the SHANG sound supplies refreshed Qi. If the order were reversed, the organs associated with a particular element would first be filled with fresh Qi, after which both the fresh and old Qi would be removed. Such a practice cannot strengthen your organs. In the worst case, it could lead to unnecessary reactions and even weaken the body. Introducing fresh energy without first clearing stagnant energy may also produce undesirable physical reactions.

8. CHOOSING THE DURATION OF PRACTICE FOR EACH SOUND

If you have certain physical conditions, you may practice a particular sound more times for certain problems, but no more than 30 times. Each sound should be repeated at least 6 times. When should individual sounds be practiced more frequently? Below are some conditions for which a particular sound is recommended to be practiced for a longer period:

• GONG (宫): digestion, spleen, pancreas, stomach, mouth, saliva, possibly the skin and muscles, restlessness, worry

• SHANG (商): lungs and large intestine, anus, respiratory system, nose, colds, teeth, possibly the uterus, according to some traditions the hair, also the chest in general, depression, sadness, criticism

• JUE (角): kidneys, adrenal glands, and bladder, hearing, teeth, bones, reproductive organs in general and ureters, the abdominal area in general, confusion, deep fears

• ZHI (徵): liver, gallbladder, hands, legs, fingers, hair, eyes, possibly the skin, tendons, possibly the neck and head, possibly the penis, circulation in the reproductive organs, menstrual problems, anger, hatred, frustration, criticism

• YU (羽): heart, brain, small intestine, eyes, tongue, blood vessels, inflammation, euphoria, depression, restlessness, fears

9. DESCRIPTIONS OF THE FIVE HEALING SOUNDS EXERCISES

Both the Six Healing Sounds and the Five Healing Sounds can be combined with specific body postures. Below, I present the hand and body positions as they were shown to me by my teacher, Lea, along with several variations I have encountered over the years. I personally do not practice Qigong except for some medical Qigong exercises from time to time, so please bear with me if I am unable to explain certain aspects here in complete detail. The fact is that the Five Healing Sounds exercises are much less familiar, at least to an English-speaking audience, than the Six Healing Sounds. For this reason, I nevertheless believe that it is worthwhile writing about them.

I would like to emphasize that our bodies are different, and many people do not tolerate holding hands upward very well, because Qi may begin to accumulate in the upper part of the body. You may try the practice at your own risk. Practice does not necessarily produce the desired results and therefore is not a substitute for conventional or alternative medical treatment. If the hand positions make you feel unwell, you can also try practicing without them, or you can try different hand positions if you know a teacher who teaches alternative positions. Above all, listen to your body. You may also find it useful to use some of the different hand positions recommended by certain teachers, such as Mantak Chia, for practicing the six healing sonds sounds silently.

You can also try practicing the sounds in the following sequence: first ZHI, then YU, followed by GONG, SHANG, and JUE. In this case, you can finish the practice with the sound HǍO (好), which is used to distribute energy throughout the body. When practicing T’AI/SHAO, raise your relaxed arms in front of you, with the wrists and elbows slightly bent, until they reach shoulder height, keeping the palms facing downward. When practicing HǍO, relax the arms downward as if you were making a gentle waving motion, and then complete the sound exercise with your arms lowered. As you lower your arms, you can also bend your knees slightly while trying to keep your back upright. The sound HǍO means “good” in Chinese.

PREPARATORY EXERCISE

If you practice while seated, keep your back straight. If you practice standing, stand in a relaxed position with your feet approximately shoulder-width apart. Remain as calm and relaxed as possible.

Place your hands over the lower Dan Tian, with the palms resting over the area slightly below the navel.

The Dan Tian is a special energy center traditionally said to be located approximately 2 to 5 centimeters, or 1 to 3 inches, below the navel and about 4 to 6 centimeters deep inside the abdomen. The Lower Dan Tian is traditionally understood as an energetic center in the lower abdomen rather than as a single anatomical point. It is commonly located below the navel, with different traditions placing its center at somewhat different depths and distances from the navel (approximately 2.5–7.5 centimeters (1–3 inches) below the navel).

Men first place the left palm over the Dan Tian and then the right palm over it. Women first place the right hand over the Dan Tian and then the left. The left hand is regarded as the prenatal male hand and is used to emit Qi. The right hand is regarded as the prenatal female hand and is suitable for emitting Qi for females. In men, the right hand is the receiving hand, while in women the receiving hand is the left. These associations represent the prenatal level and are used for energetic work. The postnatal and more physical level uses the opposite arrangement: the entire right side of the body represents the masculine aspect, while the left side represents the feminine aspect.

OPENING AND CLOSING EXERCISE

With the hands in front of you and the palms resting over the abdomen, you can also bow forward. Some Qigong practitioners begin their practice of selected exercises in this way.

Preparatory exercise can also be useful if you experience tension in your lower back after standing in upright positions for an extended period. In that case, you can perform it between two sets — for example, between the JUE and ZHI sound exercises.

GONG SOUND EXERCISE

Stand in a relaxed position with your feet shoulder-width apart. Bend your elbows to approximately 90 degrees so that your forearms are at the same height as your stomach, pointing forward and parallel to each other. Keep your palms open, with the fingers together and the palms facing each other.

Now pronounce T’AI GONG six times (or more), followed by SHAO GONG six times (or more). The SHAO GONG sound must be repeated the same number of times as the T’AI GONG sound.

SHANG SOUND EXERCISE

Stand in a relaxed position with your feet shoulder-width apart. Raise your arms upward into a V shape so that the distance between your palms is slightly greater than the width of your shoulders. Keep the hands positioned so that the palms are not tilted either forward or backward and keep fingers together; they maintain the same angle relative to the torso as the arms themselves. Despite raising the arms, keep the shoulders as relaxed and low as possible.

Now pronounce T’AI SHANG six times (or more), followed by SHAO SHANG six times (or more). The SHAO SHANG sound must be repeated the same number of times as the T’AI SHANG sound.

Variation of the hand position: Stand in a relaxed position with your feet shoulder-width apart. Raise your arms upward and then bring them toward each other. Make fists with your hands so that the second knuckles of the fingers of one hand touch the corresponding knuckles of the other hand. Despite raising the arms, keep the shoulders as relaxed and low as possible.

Now pronounce T’AI SHANG six times (or more), followed by SHAO SHANG six times (or more). The SHAO SHANG sound must be repeated the same number of times as the T’AI SHANG sound.

JUE SOUND EXERCISE

Stand in a relaxed position with your feet shoulder-width apart. Raise your arms upward and forward into a V shape so that the distance between your palms is approximately twice the width of your shoulders. Position your hands so that the palms, like the arms themselves, are tilted slightly forward. Keep fingers together. The palms should maintain the same angle relative to the torso as the arms themselves. Despite raising the arms, keep the shoulders as relaxed and low as possible.

Now pronounce T’AI JUE six times (or more), followed by SHAO JUE six times (or more). The SHAO JUE sound must be repeated the same number of times as the T’AI JUE sound.

Variation of the body position: Step slightly forward with one foot. Arch your back slightly so that it places pressure on the kidneys. Rest your palms against your sides so that the palms and fingers curve slightly upward.

Now pronounce T’AI JUE three times (or more), switch the position of your feet, and pronounce T’AI JUE another three times (or more). Then switch the position of your feet again and pronounce SHAO JUE three times (or more). Switch the position of your feet once more and pronounce SHAO JUE three times (or more).

The SHAO JUE sound must be repeated the same number of times as the T’AI JUE sound. This type of exercise may be practiced by people who experience blockages in the head or excessively concentrated Qi.

ZHI SOUND EXERCISE

Stand in a relaxed position with your feet shoulder-width apart.

Raise your arms as follows: men first place the right hand across the face without touching it, with the right palm facing toward and parallel to the left temple. The palm is therefore slightly bent toward the head in relation to the forearm. Keep the fingers spread apart. The man then crosses his left arm over the right, so that the two arms cross and touch slightly below the elbows. The left palm is facing toward and parallel to the right temple. The left palm is therefore also slightly bent toward the head in relation to the forearm. Keep the fingers spread apart.

Now pronounce T’AI ZHI six times (or more), followed by SHAO ZHI six times (or more). The SHAO ZHI sound must be repeated the same number of times as the T’AI ZHI sound.

Warning! If a man places his left hand across his face first and then crosses his right arm over it, excessive amounts of subtle energy or Qi may accumulate in the head. The same may happen to a woman if she places her right hand across her face first and then crosses her left arm over it.

This may be dangerous for people with disorders of the head or heart, high blood pressure, or mental health problems. People in these categories should also determine whether the correctly performed ZHI sound exercise causes them to become unbalanced. Another reason for caution is that this is already the third stationary exercise involving raised arms, which directs at least some of the Qi toward the head.

A safer version of this exercise is to perform it in front of the solar plexus. You can begin by placing the palms over the lower Dan Tian. For men, the left palm is placed on the inside and for women the right palm. Then extend the hands upward so that the arms cross above the wrists in front of the solar plexus. Keep the fingers spread apart.

Now pronounce T’AI ZHI six times (or more), followed by SHAO ZHI six times (or more). The SHAO ZHI sound must be repeated the same number of times as the T’AI ZHI sound.

This hand position is a safer variation and helps the Qi begin to settle and move downward before the final exercise is performed.

You will notice that men first place the left hand in front of the solar plexus and then the right hand over it, whereas when performing the position at head level, they first place the right hand in front of the face and then cross the left hand over it. Women first place the right hand in front of the solar plexus and then the left hand over it, whereas when performing the position at head level, they first place the left hand in front of the face and then cross the right hand over it.

This is not an error but reflects different energetic effects at the level of the solar plexus and lower Dan Tian on the one hand, and at the level of the head on the other.

YU SOUND EXERCISE

Stand in a relaxed position with your feet shoulder-width apart. Bend your arms upward at the elbows and bring them forward at approximately a 72-degree angle, so that your forearms are at approximately the same height as the small intestine, pointing forward and parallel to each other. Keep the palms open, with the fingers together and the palms facing each other.

Now pronounce T’AI YU six times (or more), followed by SHAO YU six times (or more). The SHAO YU sound must be repeated the same number of times as the T’AI YU sound.

A safer variation of this exercise is to use the HU sound instead of YU. The HU sound directs Qi downward more strongly.

DISCLAIMER: You assume full responsibility for practicing this purported healing sounds. Practicing this healing sounds should never be used as a substitute for appropriate professional medical care. If you feel unwell during the practice, discontinue it immediately. Mild reactions during or after the practice are possible and are generally considered normal.