Part 5.1 - Concept of Nādānusandhāna

Anānata sounds or the melody are the mystic sounds heard by the yogī at the beginning of his cycle of meditation. This subject is termed nāda-anusandhāna or an enquiry into the mystic sounds. This is a sign of purification of the nādis or astral currents due to prāṇāyāma. The sounds can also be heard abter the uttering of the Ajapa Gāyatrī mantra. ‘Hamsa Saham’ a lakh of times. The sounds are heard through the right ear with or without closing the ears. The sounds are distinct when heard through closed ears. The ears can be closed by introducing the two thumbs into the ears through the process of yoni mudrā. Sit or padma or siddha āsana, close the ears with right and left thumbs and hear the sounds very attentively. Occasionally, we can near the sounds through the left ear also. We should practice to hear from the right ear only. Why do we hear through the right ear only or hear the distinctly through the left right ear? Because of the influence of the solar nāḍi, piṅgalā on the right side of the nose. The anāhata sound is also called Omkāra dhvani. It is due to the vibration of prāṇa in the heart.^[1]

Om is consisted with three syllable viz. ‘A’, ‘U’, ‘M’. The syllable ‘A’ is considered to be its (the bird Om’s) right wing ‘U’ its left, ‘M’ its tail, and the ardhamātrā (half metre) is said to be its head.^[2]

The (rājasic and tāmasic) qualities, its fact upwards (to the loins); sattva its (main) body; Dharma is considered to be its right eye, adharma its left.^[3]

The Bhūloka is situated in its feet, the Bhūbarloka in its knees; the Svarloka in its loins and the Maharloka in it naval. In its heart is situated the Janaloka; the Tapolaka in its throat and the Satyaloka in the central of the forestram between the eyebrows. Then comes the mātrā (or mantra) beyond the sahasrāra (thousand raged). An adopt in yoga who bestrides the Hamsa (bird) thus (viz.) contemplates on ‘Om’, is not affected by karmic influences or by tens of crores of sins.

Glory of nādānusandhāna:

sadāśivaktāni sapādalaksha-layāvadhanāni vasanti lake
  nādānusandhānasamādhimekam manyāmahe mānyatamam layānām.^[4]

In this world there exist a lakh and a quarter types of laya sādhanā, all told by Sadāśiva. We consider the nadānusandhāna samādhi as the best one among the various types of layas.

nadānusandhāna namastu tubhyam tvam
  manmahe tattvapadam layānam |
bhavatprasādāt pavanena sākam
  viliyate viṣnupade mano me.^[5]

Nadānusandhāna! may this solution be unto thee. We hold you as the transcendent state in all layas. By your grace, my mind attains laya in the abode of Viṣṇu, along with prāṇa.

sarvacintā parityagya savadhanena cetasā
  nāda eva anusandheya yoga-samrājyamichhtā ||^[6]

By one who is desirous of attaining perfection in Yoga. Nāda alone has got to be closely heard (meditated upon) having abandoned all thoughts and with a calm mind.

The essential prerequisites for this type of sādhanā are the same as those for any other yoga sādhanā. Ethical and moral preparations are the first important pre-requisites. Similarly, proficiency in Haṭha yoga and prāṇāyāma is essential. It is better to have sufficient practice in concentration and meditation, that will make it easy for us to concentrate inwardly and meditate on the anāhata sounds. Ajapa japa or japa of ‘soham’ with breath will help in our concentration on the subtle sounds. That by itself will take us to the anāhata sounds.

Sit in padmāsana or sidhāsana. Have the ṣaṇmukhi or the vaiṣṇavi mudrā. Do ajapa japa. Let the gaze be inwards. The will lead us to the anāhata sound.

With ṣaṇmukhi mudrā in padmāsana or śiddhāsana, we can also lead the prāṇa and into the suṣumnā and then mediate on the anāhata cakra. Then also, we will be hear the anāhata sounds. The sweet melody of the sounds will bestow on you greater power of concentration.

At first you will hear ten different sounds that will make you deaf to all external sounds. The sounds are: Chini, Chini-Chini, ringing of the bell, bellowing the conch, sound of the lute, sound of the cymbal, that of the flute, like that of a drum of a mṛdaṅga and that of the thunder. These sounds should be heard through the right ear.

There are two aspects of these sounds, gross and subtle. You should proceed from the gross ones to the subtle ones. If the mind runs only towards the gross sounds, do not yet perturbed. Let it get first accustomed to and established in the gross sound. Then it can be red to the subtle sound.

Bear in mind that mano-laya is not the goal but that mano-nāsa and self-realisation is the goal.

Remember not to take any special fancy or liking for any particular bound but try to lead the mind from the first to the second, from the second to the third and so on to the tenth.

There is another school of nāda yoga that distinguishes three different stages in the hearing of the sounds.

The first is when the prāṇa and apāna are lead near the Brahmarandhra. The second stage comes when they enter the Brahmarandhra and the third when they are well established in it. During the first sounds like that of the roaring sea, the beating of drums, etc. are heard. During the second sounds like those of mṛdaṅga, conch etc. are heard. In the third stage, sounds like kinkini, humming of the bee, sound of the flute or the lute, etc. are heard.

Knowledge pertaining to hidden things arise in a person who can hear well the seventh sound (like that of the flute). If he can hear clearly the eighth sound then he will hear parā vāk. With the ninth, he develops the divine eye. When he hears tenth, he verily attains Para-Brahman.

Footnotes and references:

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[1]:

Yogaśikha-upaniṣad-VI-71.

[2]:

Nā. Vi. Upa-mantra-1.

[3]:

Ibid-2.

[4]:

Śaṅkarācārya-Yoga Tarāvali.

[5]:

Ibid.

[6]:

Ibid.