Tibetan singing bowls or meditation bowls are exclusive for several whys and wherefores but one of their most unsettled qualities is the special and calming sounds they emit when played. Singing bowl sounds can be characterized in several different ways and can be measured and organized by their frequencies, notes, and scales. Traditional singing bowls, newly manufactured metal bowls, and crystal bowls all possess different frequencies and tones due to their size, heaviness, and composition.

All musical devices, including meditation bowls, rely on resistance and vibration to create the sound we hear. According to research, singing bowls are idiophones. An idiophone is an instrument that “produces sound primarily by physical vibrations of the actual instrument.” In other words, the trembling of the bowl as it is being played is what produces sound. As you touch the bowl or rub the rim with a striker, the friction that results is what produces the vibrations. We can both hear and feel these vibrations. The sounds produced by singing bowls can contain multiple harmonics or leading tones, which we will discuss below.

Singing bowls can produce several dissimilar frequencies. ‘Frequency’ is the number of cycles, or “speed”, of vibrations undergone through one unit of time. Sometimes, frequency is mentioned as “pitch.” To control the frequency of a brass singing bowl, you must measure the trembling of the bowl despite the fact it is being played. Frequency is characteristically uttered in the unit Hertz. From a little viewpoint, the range of human hearing is from about 20 to 20,000 Hz according to science. Singing bowls have a frequency range somewhere between 110 Hz and 660 Hz but can reach up to the 800s or even 900s.

Generally, Hz readings for singing bowls are nearly due to the difficulty of their sounds and altering frequencies as they change between dissimilar tones and octaves. The areas of the brass singing bowl that are being played also change the measured frequency. A tap high on the side wall will generate different waves than a low tap on the side wall. Playing the lip of the bowl will produce diverse vibrations rather than playing the side of the bowl. Additionally, the physical atmosphere can also confound a frequency reading because high temperatures can disturb the reading.

Because of these situations, conveying a singing bowl with a completely precise static frequency is pretty hard. Nevertheless, there are a few universal guides when it comes to recognizing a singing bowl’s frequency. The frequency of a brass singing bowl can be partial to several factors which contain: the bowl’s diameter, depth, shape, what it is made of, and the thickness of its sides. There are a few universal rules when it comes to guesswork a singing bowl’s frequency when it comes to the before-stated factors. For example, the greater the bowl’s diameter, the deeper the pitch will be. Additionally, the thicker the bowl is, the louder the pitch will be. Resonance is the sound that transmits even after the performer ceases contact between the singing bowl and the striker.