PRÁNÁYÁMA

EXPANSION OF BIO-ENERGY THROUGH RESPIRATION

Prána means bio-energy; ayáma, expansion, breadth, intensity,
elevation. Pránáyáma designates techniques that are always of a
respiratory nature and conduct to the intensification or expansion of
prána in the body.

PRÁNA
Prána is the general name that Yôga assigns any type of energy that is
manifested biologically. In theory, prána is energy of a solar origin,
but also possibly manifested after metabolization, that is, indirectly,
when absorbed by air, water or food. Prána, of a generic kind, can be
divided into five more specific types of prána: prána, apána, udána,
samána and vyána. These can each be further divided into various
subpránas.
Prána is visible. On any sunny day, execute pránáyáma and fix your
eyes on the blue of the sky. Wait. When your vision adjusts itself, you
will begin to see myriads of incredibly dynamic and brilliant minute
points that glimmer, making their rapid circular and sinuous
movements evident. When executing your respiratory exercises,
mentalize that you are absorbing such image of energy.

PREEMPTIVE CLARIFICATIONS
The yôgi respiration should always be nasal, silent and complete,
except when instructed otherwise. It should be executed with the full
participation of the abdominal, intercostal and thoracic musculature,
which promotes a more effective use of one’s lung capacity. When
breathing must be executed through the mouth, be it inspiration or
expiration, or, when it must produce some noise, this will be explicit
in the description of the exercise. Therefore, from now on, it should be
clear that when instructed to execute pránáyáma that is not nasal,
silent or complete, they are to be treated as exceptions.

PHASES OF RESPIRATION
The phases of respiration have the following names:
• inspiration – púraka;
• retention of air – kúmbhaka;
• expiration – rêchaka;
• retention without air – shúnyaka.

PÚRAKA
Every time you breathe in, mentalize that you are absorbing the prána
that is suspended in the air. Visualize the prána. Try to feel the intense
joy in the act of breathing in this vitality, much like when you are
sampling an exquisite food.

KÚMBHAKA
When retaining air, avoid holding your breath for an excessive amount
of time to avoid causing anxiety or cardiac palpitations. Your progress
should be gradual in order to be healthy. The retention of air in the
lungs is easier and more comfortable if the practitioner does not fill
the chest too much. The lungs should only be filled to their maximum
when the pránáyáma’s objective is to raise the capacity of the lungs.
When this is the case, the pránáyáma requires little to no retention of
air.
Dizziness may occur when the practitioner is a beginner or when a
practitioner executes many pránáyámas. This is natural due to the
hyper-oxygenation of the blood. In theory, it is nothing to worry about
as long as the health of the practitioner is normal. During ásanas,
dizziness may also occur for the same reason, especially in the
bhujangásana. However normal as it may seem, it is always
recommendable that one consults their teacher to know if it isn’t due
to incorrect execution, which may come to have undesirable
consequences. Techniques that include the retention of air or rhythm
require the accompaniment of a teacher that has a formal degree from
our institution. In addition, it must be remembered that those
pránáyámas with long retentions of air are not exempt of risks and
require the orientation of a teacher who has reached the degree of
Master in addition to the perfect health of the practitioner.

RÊCHAKA
Many teachers tell practitioners to mentalize their illnesses, problems,
vices, defects and “everything that they have that is bad,” being
expelled along with the air that is exhaled. Personally, I don’t like this
mentalization because it carries with it the suggestion that you have
“bad things” within you. And, even worse, it demonstrates that it
accepts to pollute the environment where one practices Yôga,
excreting such undesirable vibrations, leaving them there for others to
eventually contract. The place where you practice should be clean not
only on the physical plane, but also on all other planes. Therefore,
when exhaling, mentalize that you are exhaling the best of what you
have within you, out into the universe: health, happiness, affection,
companionship and everything that you can remember that is positive.

SHÚNYAKA
The prolonged shúnyaka (like a very long kúmbhaka) produces the
intoxication from carbon dioxide, which can help the chitta vritti
nirôdhah (Yôga Sútra, chapter 1, sútra 2), however, it should be
practiced with great care and always under the direct supervision of a
Master. In theory, it should never be executed with only the guidance
of a book.

RHYTHM
Matra (not to be confused with Mantra) means accent or pause. It is
used in grammar to signal a long syllable, but it also means the unit of
time applied in the counting of pránáyámas and it corresponds to a
little less than one second (“the time of the blink of an eye” according
to the Shástras).
When you encounter the description “count one time,” it means that
this time is the minimal unit in the relationship between inspiration,
retention and expiration. This unit of time can be one second, two,
three, etc. Two times means that in this phase of duration, it is double
the first, which serves as the parameter. As a result, breathing with the
rhythm 1-2-1 consists in inhaling for on time (lets say three seconds),
retaining the air for two times (twice the first amount of time, which
would be six seconds), exhaling in one time (in this case, three
seconds) and holding the lungs empty for no time as there was not a
fourth time indicated in the pránáyáma. This is the best rhythm for
beginners who have some practice. Those without any practice should
dedicate themselves, in the beginning, to breathing without rhythm.
The rhythm 1-2-1-2 indicates that one should hold the lungs without
air for the same time as they retained the lungs full of air (two times or
two matras). This rhythm can be used for practitioners that are more
advanced and who have the intention of dominating the vrittis, but
without running any risks.
The rhythm 1-2-3 indicates that exhaling is the sum of the times of
inhaling and retention. For example: inhaling for 5 seconds, retaining
for 10 seconds and exhaling for 15 seconds (the sum of 5 and 10).
This rhythm is an intermediate rhythm and is indicated more for
tranquilizing techniques such as relaxation and semi-relaxation,
meditation, emotional control, returning to a state of rest after
practicing sports, etc.
The rhythm 1-4-2 consists in inhaling in one time (lets say three
seconds), retaining the air for four times (three seconds multiplied by
four: 3 X 4 = 12 seconds), exhaling in two times (in this case, two
multiplied by three seconds: 2 X 3 = 6 seconds), and not retaining
without air, since there is no algorism corresponding to such phase,
which is, then, equal to zero. Consequently, the retention without air is
not random, at the practitioner’s will. This is an advanced rhythm that
is not recommendable for beginners, especially when one time passes
the equivalent to four seconds or more. This rhythm is one that
contributes to conduce the practitioner to higher states of
consciousness and paranormalities.

RHYTHMS: BEGINNING TO ADVANCED

In pránáyámas that have rhythm, the relationship between them, from
the least to the most advanced, is as follows (the numbers 1, 2, 3 and 4
refer to the proportions explained in the phases of respiration above):
a) 1-1-1-0;
b) 1-2-1-0;
c) 1-2-3-0;
d) 1-1-1-1;
e) 1-2-1-2;
f) 1-4-2-0.
Warning: We recommend that the practitioner avoid experiences using
other proportions than those explained here. This warning is clearly
justified in that these proportions go back thousands of years in our
lineage and we know their effects very well. If a practitioner adopts
other proportions for the sake of experimenting something new, he
would be placing his health at risk. Yôga is fundamentally empirical.
If the respective technique were innocuous or even harmful, over time,
it would have been excluded. If it were efficient and beneficial, it
would have been incorporated into the patrimony of Yôga. But, in
order for a technique to be inserted or adopted into our tradition,
centuries of experimentation and some victims are necessary.

ADHAMA, MADHYAMA AND UTTAMA

The terms adhama (lower), madhyama (middle) and uttama (upper)
are used in two ways:
a) to designate lower, mid and upper respiratory exercises, that is,
those exercises that use the lower (abdominal), mid (intercostal) and
high (thoracic) musculature;
b) to designate the three levels of advancement of the practice
(adhama if the púraka is up to 12 matras; madhyama from 12 up to 24
and uttama if the púraka is more than 24 matras).

GRADUAL EVOLUTION
The respiratory exercises are scaled in the following way, in regard to
their level of advancement:
abdominal without rhythm and without bandhas – adhama pránáyáma;
abdominal without rhythm and with bandhas – bandha adhama pránáyáma;
abdominal with rhythm and without bandhas – kúmbhaka adhama pránáyáma;
abdominal with rhythm and with bandhas – bandha kúmbhaka adhama pránáyáma;
complete without rhythm and without bandhas – rája pránáyáma;
complete without rhythm and with bandhas – bandha pránáyáma;
complete with rhythm and without bandhas – kúmbhaka pránáyáma;
complete with rhythm and with bandhas – bandha kúmbhaka pránáyáma;
complete without rhythm and alternated – vamah krama pránáyáma;
complete with rhythm and alternated – sukha púrvaka pránáyáma;

Beyond these, there are diverse specific techniques that can be

classified within these different levels of advancement. Compare, in
the description of the pránáyámas, the other names that these
respiratory exercises may have.

AGARBHA AND SAGARBHA

The pránáyámas are also classified according to whether they include
the mentalization of mantras or not. The simplest, for beginners who
still haven’t dominated the vrittis, are called agarbha pránáyámas,
respiratory exercises without the creative power of the manasika japa.
Pránáyámas that are more advanced, ones for veterans, are those that
are called sagarbha pránáyámas, or respiratory exercises with the
fecundity of the manasika japa (the mental repetition of a mantra).
These varieties of classifications permit us a sophisticated elaboration
of the nuances that one finds described, one by one on the following
pages, according to the ancient tradition.
 DYNAMIZATION OF PRÁNÁYÁMA
The techniques of Yôga are very powerful, but at the same time,
extremely safe. Nevertheless, to make them still more powerful,
techniques are combined together to produce an exponentially
cumulative factor of effects, a geometric progression.
In this way, at the beginning, the practitioner learns the techniques
separately. After this, the practitioner is trained to associate two
techniques; then three; then the practitioner is trained to combine still
more techniques simultaneously. For example, an ásana is combined
with pránáyáma; on top of this, one then adds mudrá; and on top of
this result, a bandha is added; and still on top of this, a mantra and a
mentalization are associated!

BANDHAS
Bandhas are contractions or compressions of the plexi and glands.
Many pránáyámas and ásanas use bandhas as factors to potentialize
their effects. The main bandhas are:
múla bandha strong contraction of the sphincters of the anus and
the urethra. If repeated many times, it is called
aswiní bandha (in some schools it is called aswiní
mudrá). For men, it greatly raises the sexual
potential and helps control premature ejaculation.
For women, it develops the domination over one’s
vaginal muscles. These are also Tantric techniques
that are meant to amplify the pleasure of sex.

uddiyana retraction of the abdomen until the curvature of the

bandha vertebrae can be seen on the abdominal skin. There
exists both a static variety (tamas uddiyana
bandha) and a dynamic variety (rajas uddiyana
bandha). Through this last variety, one can execute
the agnisára kriyá (see the chapter Kriyá for further
reference).
jalándhara alternated contraction and extension of the thyroid.
bandha It aids in the execution of kúmbhaka and
contributes to the control of one’s body weight.

jíhva bandha compression of the tongue against the roof of the

mouth, on the soft palate, towards the back. It leads
to the stimulation by massage of the pineal gland,
through the propagation of the intra-cranium
pressure.

The first three bandhas – múla bandha, uddiyana bandha and

jalándhara bandha – when practiced together, one after the other, are
called bandha traya, or “triple bandha.”

MUDRÁS
The mudrás that are more commonly used in respiratory exercises are
the jñána mudrá, for the beginners, and the átmam mudrá, for the
advanced. Other mudrás can be applied during pránáyámas according
to the objective of the teacher who is administering the practice.

ÁSANAS
There are specific ásanas for the practice of pránáyáma. They are
ásanas that require little to no kinesiological effort and therefore, are
practically neutral in these terms.
The ideal ásanas for executing respiratory exercises are those where
the practitioner is seated with the back naturally straight, those that are
in the category called dhyánásanas, since these are the very ásanas that
are also the best for dhyána (meditation). Some of these are:
samánásana, which serves both the beginner and the advanced when
doing unpretentious practices; siddhásana, which is chosen for
practices that have in mind the awakening of siddhis and the
kundalini; padmásana, which is used when we want to reach more
profound states of mediation quickly; vajrásana, which is used for
those who cannot comfortably cross their legs, when there is not space
or when people have difficulty keeping their back straight;
bhadrásana, which is for those who want to be able to open their
pelvic region wider. There are still those ásanas used by the more
advanced, which envision working the nádís ídá, píngalá and
sushumná separately. These are idásana, píngalásana and
sushumnásana, respectively. Furthermore, ásanas such as
swastikásana and virásana can be used.
Although tolerated, the sukhásana is not recommended for the
unfortunate fact that many uneducated teachers use this position to
stunt the progress of their students and, through this, impede their
students from overtaking them. Such a procedure is anti-ethical and
sooner or later the student will find a good book, where they will
discover the trick: when in the sukhásana, the feet impede the legs
from descending naturally under the force of gravity. For this reason,
through the years, the knees will not loosen up and the student will not
be able to execute the padmásana. Without being able to execute the
padmásana, the student is prevented from achieving hundreds of other
more advanced techniques.
The fear of being overtaken by one’s disciples and the attempt to
hinder their development is an undignified stance that denotes
insecurity, egoism and dishonesty on the teacher’s part, who, in such
cases, does not deserve to be called teacher. A good Master is one that
is able to guide his disciples along a certain progression that will allow
them to surpass their preceptor. The consequence that “hiding the
cookies” may have is that the quality of these schools will
progressively deteriorate, generation after generation until it is
completely gone.
While this is occurring in some schools, in others, such as in
SwáSthya – which is a systematization of the Ancient Yôga – teaching
continues to conquer higher and higher degrees of superlative quality
because each generation of new disciples is surpassing the quality of
their Masters. And these Masters, with each passing moment, are
praised by the merits of their disciples who write excellent books, give
classes of an incomparable standard and become virtuosos of
choreographies.

WARNINGS
Respiratory exercises that include retention of air or rhythms are not
recommended for any person who has cardiac problems, high blood-
pressure or for those with any kind of health problem. Ancient Yôga is
not therapy and therefore, it is not for those who are ill. As a result,
such information is merely pro forma, much like the medical exam
that is required of every practitioner, even those that are young and
healthy.

MEDICAL EXAMINATION
Anyone, even young and healthy, before practicing respiratory
exercises should consult a doctor, preferably taking this book with
them and showing it their doctor so he has a clear idea of what will be
done. No Yôga teacher should permit any student access to the
classroom, not even for the first session, without the required medical
registration form, with the signature and proper identification of the
doctor. Simple testaments, directly from a doctor, are not acceptable
because they do not provide the necessary information that is included
on the form.

DESCRIPTION OF THE PRÁNÁYÁMAS

1. Tamas pránáyáma – imperceptible respiration

a) Inhale so slowly that even the slightest movement of air is
imperceptible;
b) retain the air a few seconds, without counting any rhythm; and
c) exhale so slowly that the movement of air is imperceptible.
 2. Rajas pránáyáma – dynamic respiration
(Do not confuse this with rája pránáyáma.)

a) Inhale raising your arms to the height of your shoulders;

b) retain the air while you close your hands firmly and vigorously
move your arms, flexing and extending them, bringing your hands to
your shoulders and returning them to their extended position many
times before you exhale; and
c) exhale slowly, lowering your arms simultaneously.

3. Adhama pránáyáma – abdominal respiration without

rhythm
(Other names for this are: ardha pránáyáma and ardha prána kriyá.)

a) Inhale, projecting your abdomen outwards14, attempting to fill the

lower portion of your lungs;
b) retain the air for a few seconds, without counting any rhythm; and
c) exhale, pulling your abdomen in, attempting to empty your lungs as
much as possible, especially the lower portions.

4. Adhama kúmbhaka – abdominal respiration with rhythm

(1-2-1)
(Another name for this is ardha kúmbhaka.)

a) Inhale, projecting the abdomen outwards while counting one time;

b) retain the air in the lungs, counting two times; and
c) exhale, pulling in the abdomen, counting one time.

14
Some authors prefer to teach abdominal breathing without the projection of the abdomen,
alleging that this can contribute to the dilation of the circumference of the stomach, an opinion
which we do not share. Four decades of giving Yôga classes demonstrates that our method
reduces the stomach and the waist, and a great deal. The fact is that you do project your
stomach, but afterwards, you contract it much more, incrementally toning the abdominal
musculature.
 5. Bandha adhama pránáyáma – abdominal respiration
without rhythm and with bandhas
(Another name for this is bandha ardha prána kriyá)

a) Inhale, projecting the abdomen outwards, raising your chin and

extending the thyroid region;
b) retain the air, executing the jíhva bandha (placing your tongue on
your soft palate, the soft place on the back-upper portion of your
mouth); and
c) exhale and retract your abdomen, lowering your head and pressing
your chin on your chest (jalándhara bandha), pulling your abdomen
strongly inwards, towards your back and then upwards (uddiyana
bandha) while forcefully contracting the sphincters of the anus and the
urethra (múla bandha).

6. Adhama kúmbhaka pránáyáma – abdominal respiration

with rhythm and bandhas (1-2-1)
(Another name for this is ardha kúmbhaka bandha)

a) Inhale, in one time, projecting your abdomen outwards, lifting your

chin and extending the thyroid region;
b) retain the air for two times, executing the jíhva bandha (placing
your tongue on your soft palate, which is the soft place on the back-
upper portion of your mouth); and
c) exhale in one time, retracting your abdomen while lowering your
head and pressing your chin against your chest (jalándhara bandha).
Pull your abdomen strongly inward towards your back and then
upwards (uddiyana bandha) and forcefully contract the sphincters of
your anus and urethra (múla bandha).

7. Madhyama pránáyáma – middle respiration without rhythm

a) Place the palm of your hands to the side of your ribs, with the your
fingers facing forward;
b) exhale, creating pressure with your hands in such a way as to push
in the ribs while the tips of your fingers get closer and closer at the
height of your solar plexus;
c) inhale, releasing the pressure of your hands and allowing for them
to be pushed outward by the ribs; and remember
d) in this pránáyáma, you don’t move the lower nor the upper portions
of your lungs and when the intercostal musculature is well
conditioned, the use of the hands is not necessary.

8. Madhyama kúmbhaka – middle respiration with rhythm (1-

2-1)
a) Proceed similarly to the previous pránáyáma;
b) exhale as slowly as possible according to what is comfortable for
you and to what rhythm you have chosen; and
c) inhale in a determined time, retain the air in the lungs twice the time
and exhale in the same amount of time that you inhaled.

9. Bandha madhyama pránáyáma – middle respiration

without rhythm and with bandhas
a) Breathe using only the mid portion of your lungs, which correspond
to the intercostal region;
b) inhale, tilting your head back and placing the tip of your tongue on
your soft palate, pressing it towards the back portion (jíhva bandha)
while retaining the air in your lungs; and
c) exhale, bringing your chin to the upper portion of your chest, which
flexes the region of your cervix;
d) with your lungs empty, maintain the pressure of your chin on your
chest (jalándhara bandha), contracting the abdomen as much as
possible (uddiyana bandha) as well as the sphincters of the anus and
the urethra (múla bandha). Retention without air for a free period.
 10. Madhyama kúmbhaka pránáyáma – middle respiration
with rhythm and bandhas (1-2-1)
a) Execute the previous pránáyáma adding rhythm;
b) Inhale in a given time, retain the air in the lungs for twice this time
and exhale in the same time as you inhaled.

11. Uttama pránáyáma – upper respiration without rhythm

a) Inhale, taking the air into the upper part of the lungs (in order to do
this, you should maintain the abdominal and intercostal musculature
lightly contracted);
b) retain the air for a short period of time; and
c) exhale gracefully and in a controlled manner.

12. Uttama kúmbhaka – upper respiration with rhythm (1-2-1)

a) Execute the previous pránáyáma, trying to execute it as slowly as
possible and adding rhythm;
b) as slowly as possible, inhale in a given time, retain the air in the
lungs for twice this time and exhale in the same time as you inhaled.

13. Bandha uttama pránáyáma – upper respiration without

rhythm and with bandhas
a) Inhale, taking the air into the upper part of the lungs, gently letting
your head tilt back and executing the jíhva bandha, pressing the end of
your tongue against the anterior region of the roof of your mouth;
b) maintain this bandha while you retain the air;
c) exhale while bringing your chin to your touch your sternum; and
d) while your lungs are empty, keep the pressure of the chin on your
chest (jalándhara bandha), contract the abdomen, pulling it firmly in
and upward (uddiyana bandha) and contract the sphincters of the anus
and the urethra (múla bandha).
 14. Uttama kúmbhaka pránáyáma – upper respiration with
rhythm and bandhas (1-2-1)
a) Inhale suavely through your nostrils in on time, filling only the
upper portion of the lungs;
b) retain the air two times, executing the jívha bandha (head tilted
back with the tip of the tongue pressing against the soft palate);
c) exhale in one time, pressing the chin on the upper part of the
sternum; and
d) hold the lungs without air for any comfortable amount of time
while maintaining the chin on the chest, which creates pressure on the
region of the thyroid gland (jalándhara bandha), and strongly
contracting the abdomen (uddiyana bandha) along with the sphincters
of the anus and the urethra.

15. Rája pránáyáma – complete respiration without rhythm and

without bandhas
(Another name for this is prána kriyá.)

a) Inhale, first projecting the abdomen outward then the ribs and
finally dilate the upper portion of the thorax without counting any
rhythm;
b) retain the air in the lungs for a few seconds, without counting any
rhythm; and
c) exhale, first releasing the upper portion15 of the thorax, after the mid
portion and finally the lower portion of the lungs.

16. Bandha pránáyáma – complete respiration without rhythm

and with bandhas
(Another name for this is prána bandha kriyá)

15
There is the option to release the air first from the lower portion of the lungs. To this, we are
almost indifferent. Our school uses this particular form out of a question of tradition.
a) Inhale, first projecting the abdomen outward, then the ribs, and
finally dilate the upper portion of the thorax, all in the same breath,
without counting any rhythm; at the same time, raising the chin and
extending the thyroid region;
b) retain the air for a few seconds with the head tilted back, again
without counting any rhythm;
c) exhale, releasing the air first from the upper, then the mid and
finally the lower portion of the lungs, without any rhythm, while
tilting the head forward, placing the chin against the chest (jalándhara
bandha), pulling the abdomen strongly in and upward (uddiyana
bandha) and contracting the sphincters of the anus and the urethra
(múla bandha)16 with force.

17. Antara kúmbhaka – complete respiration with rhythm (1-2-

1 or 1-4-2)
(Another name for this is kúmbhaka.)

a) Inhale, dilating the lower (adhama), mid (madhyama) and upper

(uttama) portion of the lungs by first projecting the abdomen outward
and after the ribs to the sides and finally expanding the upper part of
the thorax, counting one time;
b) retain the air in the lungs counting two times;
c) exhale, releasing the air first from the upper, then the mid and
finally the lower portion of the lungs, counting one time.
Note: For those that are more advanced, the rhythm can go
progressively passing to 1-4-2, which is much stronger.

18. Kêvala kúmbhaka – retention of the breath

This exercise is cited by Pãtañjali in his classic work Yôga Sútra,
written over 2,000 years ago. It consists of retaining air in any of the
phases of breathing without having inhaled or exhaled in preparation

16
When the practice is specifically aimed at awakening the kundaliní, depending on the
exercise, the order can be reversed: múla bandha, uddiyana bandha and jalándhara bandha.
for this. This retention should be held as long as possible, without
exaggerating, in a progressive manner.

19. Bandha kúmbhaka pránáyáma– complete respiration with

rhythm and with bandhas
(Another name for this is kúmbhaka bandha)
a) Inhale, as in the antara kúmbhaka above, but this time, when
inhaling, raise your chin and extend the thyroid region while you
count one time;
b) retain the air, counting two times; and
c) exhale, as in the antara kúmbhaka, this time tilting the head forward
and pressing the chin on the chest (jalándhara bandha), pulling the
abdomen in and upward (uddiyana bandha) and strongly contracting
the sphincters of the anus and the urethra (múla bandha). These three
practices together are denominated bandha traya.
Note: For those who are more advanced, the rhythm can progressively
move to 1-4-2.

20. Manasika pránáyáma – complete respiration with

mentalization
a) Inhale slowly and clearly imagine a strong golden light penetrating
through your nasal passages;
b) retain the air in the lungs, visualizing this energy being absorbed by
the alveoli, penetrating the blood stream and being deposited in each
cell, revitalizing every one of them; and
c) while exhaling, mentalize your body, radiant like the sun;
Note: Bandhas and rhythm can be added as well as the use of other
colors, depending on the interest of the practitioner or teacher at that
moment.

21. Báhya kúmbhaka – retention with the lungs emptys

(Another name for this is shúnyaka)
a) Carry out one complete respiration (adhama, madhayama, uttama);
b) exhale slowly; and
c) maintain the lungs without air for as long as possible, without
exaggerating and progressively increasing the time.
Note: This pránáyáma is used to inhibit the cerebral functions through
the reduction of its oxygen supply and through this, control the vrittis
(“Yôga chitta vritti nirôdhah”, Yôga Sútra, chapter I, verse 2). It is a
practice that involves some risk of injuring the nervous system and for
this reason, it is not recommended for beginners.

22. Nádí shôdhana pránáyáma – alternated respiration without

rhythm
(Another name for this is vamakrama or vamah krama)
a) Place the hands in jñána mudrá;
b) obstruct the right nostril with the middle finger of the right hand
(which is in jñána mudrá17)
c) inhale through the left nostril (complete breathing);
d) retain the air as long as possible, without exaggerating;
e) change the obstructed nostril, obstructing the left one, also with the
middle finger of the right hand, which is in jñána mudrá;
f) exhale through the right nostril;
g) continue the pránáyáma, inhaling through the right nostril and
exhaling through the left, and so on.
Note: Observe that the active nostril is always alternated when the
lungs are full and never when they are empty. Other mudrás can be

17
Other schools use different mudrás for alternated breathing such as the Vishnu mudrá. To
practice SwáSthya Yôga, which is Shivaist, executing Vishnuist mudrás would be incoherent.
Executing any procedure that is not characteristic of our lineage contributes to the distancing
and loss of identification with our egregore. Read the chapter Egregore as well as the chapter
Master and Disciple Relationship for a better understanding of this.
used to obstruct the nostril, and each school uses a different mudrás.
In our case, we choose the jñána mudrá.

23. Nádí shôdhana kúmbhaka – alternated breathing with

rhythm (1-2-1 or 1-4-2)
(Another name for this is sukha púrvaka)
This pránáyáma is exactly the same as the previous one, only that
rhythm is added, one time to inhaling, two times to the retention of air,
one time exhaling and no time is allotted to the retention of the lungs
empty (shúnyaka). Those who are more advanced can progressively
pass to the rhythm 1-4-2. If necessary, return to the beginning of the
chapter and read the explanation about rhythm and counting.

24. Manasika nádí shôdhana – alternated respiration executed

mentally
a) Breathe amply, consciously and deeply through the nostrils;
b) imagine an intense luminosity penetrating through the right nostril;
c) retain the air in the lungs while visualizing this energy
impregnating the entire body;
d) exhale while mentalizing the energy leaving through the left nostril.
e) the next time you inhale, imagine a strong light penetrating through
the left nostril;
f) upon the retention of the air, this light is assimilated;
g) exhale while mentalizing the light leaving through the right nostril.
Note: Execute various cycles of this keeping in mind that any of the
recommended colors can be used for practices that involve
mentalizations.

25. Súrya pránáyáma – respiration through the positive or solar

nostril
a) Place the hands in jñána mudrá18, obstruct the negative nostril (the
left for men and the right for women) with the middle finger of either
hand;
b) inhale and exhale, always through the negative nostril (right for
men and left for women), without retaining air in the lungs for any
length of time
Note: There is also a variation in which the breathing is done through
the mouth.

26. Manasika súrya pránáyáma – solar respiration executed

mentally
a) Inhale using the technique of complete breathing, suavely and
deeply through both nostrils, while visualizing a strong orangish light
entering through the solar nostril (right for men and left for women);
and
b) exhale while visualizing the same light exiting through the same
nostril.

27. Chandra pránáyáma – respiration through the negative or

lunar nostril
This exercise is the same as súrya pránáyáma (25), however, it uses
the other nostril.
Note: There is also a variation in which the breathing is done through
the mouth.

28. Manasika chandra pránáyáma – lunar respiration executed

mentally
a) Maintain complete, suave and deep breathing through both nostrils
while imagining an intense light blue luminosity penetrating through
the lunar nostril (left for men and right for women); and
b) exhale while visualizing the light leaving through the same nostril.

18
Please see the previous footnote, regarding the use of the jñána mudrá.
 29. Súryabhêda pránáyáma - alternated respiration with solar
respiration and without rhythm
a) Place the hands in jñána mudrá;
b) obstruct the negative nostril (left for men and right for women)
using the middle finger of the right hand;
c) inhale through the positive nostril (right for men and left for
women);
d) retain the air, executing the jalándhara bandha and swallowing the
saliva;
e) come out of the jalándhara bandha and exhale through the other
nostril.
f) repeate the entire process, while being careful to always inhale
through the solar or positive nostril and exhale through the lunar or
negative nostril. Do not do it as in the vamah krama or the sukha
púrvaka, where the process of inhaling is alternated between nostrils.

30. Chandrabhêda pránáyáma - alternated respiration with

lunar inhalation without rhythm
This pránáyáma is the same as the one before it, however, when
inhaling, the negative nostril is used and when inhaling the positive
nostril is used. This exercise should not be used, except when
specified by one’s direct Master.

31. Súryabhêda kúmbhaka – alternated respiration with solar

inhalation and rhythm (1-4-2)
This breathing exercise is similar to the súryabhêda pránáyáma except
that there is a difference in the time that the air is retained in the lungs.
In this case, the retention or kúmbhaka should be the maximum that
the practitioner can hold it, without any exaggerations. At the end,
execute the uddiyana bandha and the múla bandha when exhaling.

32. Bhastriká – rapid blow respiration

(In some schools, bhastriká is called kapálabhati and vice-versa!)

a) Inhale and exhale very rapidly and strongly through both nostrils
producing a high sound like that of a bellow;
b) the ideal rhythm is to inhale and exhale, both, in only one second;
c) beginners will execute this exercise more slowly so as not to loose
the rhythm and those who are more advanced will execute it more
quickly, more forcefully and using the technique of complete
breathing. While the latter is still out of reach, try abdominal breathing
until it is possible;
d) in the end, stay in shúnyaka and bandha traya.

33. Súrya bhastriká – rapid blow respiration through the solar

nasal passage
Execute the same pránáyáma above (32), however, with only the
positive nostril (right for men and left for women) and without
alternating.

34. Chandra bhastriká – rapid blow respiration of through the

lunar nasal passage
Execute the same pránáyáma above (33) with the negative nostril.

35. Nádí shôdhana bhastriká – alternated rapid blow

respiration
For the practitioners who have already dominated the two previous
pránáyámas (32 and 33), there are others that are much more complex
as they require excellent motor coordination. More specifically, when
executing this technique, the yôgin should rapidly change the active
nostril in such a way that he inhales through one and exhales through
the other and not through the same one. This is a very strong
pránáyáma and one that is for those who are well trained and want the
most vigorous effects. It is not recommended for either the beginner or
the imprudent.
 36. Kapálabhati – slow blow respiration
(In some schools the kapálabhati is called bhastriká and vice versa.)
a) Inhale deeply in a normal rhythm and applying the complete
breathing technique;
b) do not retain the air; and
c) exhale all of the air vigorously through both nostrils all at once in a
half of a second.

37. Súrya kapálabhahti – slow blow through the solar nasal

passage
Execute the same pránáyáma above (36), however, this time using
only the positive nostril (right for men and left for women).

38. Chandra kapálabhati – slow blow through the lunar nasal

passage
Execute the same pránáyáma above (36), however, with only the
negative nostril this time.

39. Nádí shôdhana kapálabhati –alternated slow blow

For those more advanced practitioners who want stronger effects, the
previous pránáyámas can be done inhaling deeply through one nostril,
no retention of air and exhaling through the opposite nostril. The
difference in this one is the alternation of nostrils, which the others do
not apply, since either both or one or the other nostril is used in the
pránáyámas 36, 37 and 38.

40. Mantra pránáyáma – rhythmic respiration with the

emission of a mantra (1-2-3)
(Another name for this is pránava pránáyáma.)
a) Seat yourself preferably in siddhásana;
b) inhale in one time, mentalizing the absorption of prána through the
nostrils and its channeling through the nádís, directly to the ájña
chakra;
c) retain the air two times, visualizing the ájña chakra shining, turning
very rapidly in the dextrogerous way (dakshinavártêna) and growing
in diameter; and
d) exhale in three times, emitting the vaikharí mantra ÔM
harmoniously until you have no more air in your lungs.

41. Ômkára pránáyáma – rhythmic respiration with the

manasika mantra (1-4-2)
a) Inhale, as in the kúmbhaka, however, when marking the time,
instead of using seconds, count repetitions of the manasika mantra,
visualizing the syllable ÔM. An example of visualization that would
correspond to three seconds is:
ÔM – ÔM – ÔM
b) retain the air, like in the kúmbhaka, however, when counting four
times, use mental repetitions of the mátriká mantra. An example of
this visualized and which corresponds to 4 x 3 seconds would be:
ÔM – ÔM – ÔM
ÔM – ÔM – ÔM
ÔM – ÔM – ÔM
ÔM – ÔM – ÔM
c) exhale the air, like in the kúmbhaka, however, when counting two
times, use mental repetitions of the ÔM. An example of that
corresponds to 2 x 3 seconds when visualized would look like this:
ÔM – ÔM – ÔM
ÔM – ÔM – ÔM
Note: The practitioner can opt for the unit of time ÔM-ÔM, ÔM-ÔM-
ÔM or ÔM-ÔM-ÔM-ÔM etc. What is fundamental is good common
sense, gradual progress and the orientation of a Master.
More advanced yôgins, instead of using the mantra ÔM, will use the
yantra ÔM to count the time mentally. It looks something like this:

púraka –

kúmbhaka –

rêchaka –

42. Ha Blow – strong exhalation through the mouth with a high

brisk sound emitted in conjunction
a) Stand with the legs slightly apart;
b) inhale, raising the arms in front of the body and then up above;
c) retain the air for a few seconds; and
d) exhale, all of the air in the lungs in less than one second,
energetically, throwing the arms, torso and head forward, emitting the
sound HA, as if yelling – only that the sound is not produced from
yelling but rather from the strong and fast forcing of the air out of the
lungs.
Safety measure: In order to avoid injuring the spine and the back
muscles, try not to move the torso violently forward, especially if the
body is cold, whether because of the climate or because of the fact that
the practice has just begun.

43. Ujjáyí pránáyáma – respiration with a contraction of the

glottis
a) Inhale through the nostrils, contracting the glottis (having done this,
the practitioner will notice a light noise that is similar to resonance,
but note that this should be very light, preferably so much so that the
person next to you cannot hear it);
b) retain the air in the lungs with the glottis completely closed and
execute the jalándhara bandha; and
c) exhale through the nostrils, contracting the glottis and producing
the same suave sound from the air traveling through the respiratory
track.

44. Shítálí pránáyáma – respiration with the tongue curled

a) Place the tongue in the form of a tube between the teeth, which
should be partially closed;
b) inhale through the mouth, making the air penetrate the respiratory
track through the channel formed by the tongue;
c) retain the air, without any rhythm; and
d) exhale normally through the nostrils.

45. Shítkárí pránáyáma – respiration with the tongue and teeth

a) Close the teeth, leaving the lips semi-open and the tongue lightly
touching the back of the upper incisors;
b) inhale through the mouth, making the air enter the respiratory track
through the teeth and the tongue;
c) retain the air without rhythm; and
d) exhale normally through the nostrils.

46. Bhrámárí pránáyáma – respiration with the noise of a bee

a) Inhale deeply as in the ujjáyí;
b) do not retain the air; and
c) exhale slowly and deeply, producing a buzzing that is similar to the
sound of a bee (bhrámárí).

47. Múrchhá pránáyáma

a) Seat yourself in padmásana;
b) inhale as in the ujjáyí;
c) retain the air for a long time while executing the jalándhara bandha;
d) exhale slowly; and
e) while retaining the lungs empty, execute the múla bandha.

48. Plavíní pránáyáma – respiration with the swallowing of air

a) Inhale, swallowing air as if it were water, filling the stomach with
air; and
b) exhale, eructating (do not teach this exercise in the classroom!).

49. Sama vritti pránáyáma

a) Inhale, slowly, deeply and completely in five seconds;
b) retain the air five seconds; and
c) exhale in five seconds.

50. Visama vritti pránáyáma

a) Execute, in its entirety, one complete cycle of complete breathing
with the rhythm 1-4-2;
b) repeat the whole cycle using the rhythm 2-4-1;
c) repeat the whole cycle again using the rhythm 4-2-1; and
d) reinitiate the process described in letters a, b and c as many times as
your Master has determined. If you do not have a Master, use common
sense.
 51. Chaturánga pránáyáma – square breathing
a) Inhale in 4 seconds;
b) retain the air for 4 seconds;
c) exhale in 4 seconds; and
d) retain without air for 4 seconds.

52. Vilôma pránáyáma

a) Seat yourself in padmásana with the hands in jñána mudrá;
b) inhale in 2 seconds and stop before filling the lungs;
c) retain the air for 2 seconds;
d) inhale a little more for 2 seconds;
e) retain the air for 2 more seconds;
f) continue the process of filling the lungs until they are full;
g) execute the kúmbhaka for 5 to 10 seconds while also executing the
múla bandha;
h) exhale; and
i) repeat the number of times determined by your Master. If you do
not have a Master, use common sense and repeat it around 10 to 15
times, continually readjusting how long you hold each part and how
many times you repeat the exercise according to your advancement.

53. Anulôma pránáyáma

a) Execute the jalándhara bandha;
b) inhale through the nostrils as in the ujjáyí;
c) retain the air for 5 to 10 seconds;
d) execute the múla bandha;
e) obstruct the nostrils, maintaining the múla bandha;
f) exhale slowly through the left nostril, maintaining the right one
obstructed;
g) repeat the pránáyáma from a to f, exhaling now through the right
nostril;
h) having finished both phases, the anulôma has completed a single
cycle;
i) repeat this 5 to 8 cycles.

54. Pratilôma pránáyáma

a) Execute the jalándhara bandha;
b) obstruct the nostrils with the right hand;
c) press the left nostril and control the opening of the right nostril;
d) inhale slowly and deeply through the right nostril;
e) retain the air pressing both nostrils closed;
f) execute the múla bandha while the kúmbhaka lasts (5 to 10
seconds);
g) exhale through both of the nostrils in ujjáyí;
h) repeat a through g, this time pressing the right nostril and
controlling the opening of the left nostril;
i) having completed both sides, the cycle has come full circle;
j) repeat 5 to 8 cycles.

55. Chakra pránáyáma – respiratory exercise to activate the

chakras
Execute the ômkára pránáyáma six times, but instead of using ÔM,
you should use one of the bíja mantras of the chakras each time, in the
correct order of ascension: LAM, VAM, RAM, YAM, HAM, ÔM.
The correct pronunciation is fundamental even if the mantra is only
mentalized, thus the need of a Master to listen to and correct. When
the six times have been completed, one for each bíja, one cycle has
been completed. Repeat this exercise 10 times. One should
progressively raise the unit of time measured by the mantras, adding
one second in the púraka (represented by one more repetition of the
mantra while inhaling) each month. For example, in the first month
one would execute the ÔM, in the second, one would execute ÔM-
ÔM, in the third, one would execute ÔM-ÔM-ÔM and so on, raising
the standard unit that serves to count the rhythm 1-4-2. But, the most
important thing is that the practitioner knows when to stop raising the
amount of time, or even when to reduce it, whenever he feels that the
kúmbhaka is excessive.

56. Kundaliní pránáyáma – respiratory exercise to active the

kundaliní
a) Proceed as in the nádí shôdhana pránáyáma, obstructing the right
nostril and inhaling through the left while mentalizing that the prána
penetrates through idá (if the practitioner is a man) or through pingalá
(if the practitioner is a woman) and descends, winding around the
vertebrae down to the múládhára chakra;
b) retain the air in the lungs mentalizing that the prána has arrived at
the múládhára chakra and vitalized the kundaliní. Because its nature is
igneous, imagine that the oxygen has stimulated it and fueled it even
more. Visualize that the kundaliní has activated the múládhára chakra
and has begun to rise by way of the sushumná nádí;
c) change the active nostril and exhale through the right, mentalizing
that a jet of golden light is clearing the channel of the sushumna nádí
from the múládhára to the swaddhisthana chakra;
d) change the active nostril and repeat a through c in exactly the same
way;
e) all that has been done up to this point constitutes the cleansing
phase of the first and second chakra. Now, repeat the same thing, once
with each nostril, mentalizing that the kundaliní rises to the third
chakra, the manipura chakra and that the jet of light rises up to it;
f) repeat everything in the same way for each of the other chakras, all
the way to the sahásrara. All in all, there will be a dozen complete
breathing cycles.
Your Master will teach you how to integrate rhythm, mudrás, mantras
and bandhas and later, the manasika pránáyáma in steps adequate to
make the practice dynamic. He bases these decisions on whether and
to what degree he thinks the practitioner is sufficiently loyal and
disciplined and, therefore, worthy and apt to accelerate the process.

TANTRIC RESPIRATORIES
57. Shiva-Shakti pránáyáma – respiration of Shiva and his
consort
a) Partners, of the opposite sex, seat themselves facing one another in
siddhásana and with the hands in átman mudrá;
b) both should bring their nostrils close to those of their partners,
without touching, and when one exhales, the other should inhale their
breath;
c) after a few of these exchanges, the exercise should end with a long
mantra ÔM and reciprocal reverence in prônam mudrá.
Note: This pránáyáma may last for an undetermined period of time.

58. Tántrika pránáyáma – respiration to activate the chakras

a) Partners, of the opposite sex, seat themselves facing one another in
siddhásana and with their hands in prônam mudrá;
b) both vocalize the bíja mantra of each chakra in ascending order
three times to establish the rhythm of the manasika bíja mantra that
will be done next;
c) both rub the palms of the hands in front of each chakra that will be
energized;
d) after rubbing the hands, the left hand should be maintained in
contact with that of the partner’s;
e) now, execute the chakra pránáyáma, taught previously, applying the
palm of the right hand on the region of the chakra that corresponds to
the bíja mantra that is mentalized, rubbing it moderately;
f) having finished the number of repetitions of the bíja mantra, move
on to the next chakra until the ájña chakra is reached and after, return
to the múládhára, repeating the process a number of times; and finally
g) end the exercise with the long mantra ÔM and reciprocal reverence
in prônam mudrá.
 ORIENTATION TO YÔGA TEACHERS

HOW TO LEAD PRÁNÁYÁMA

The respiratory module is extremely important. A good part of the time spent in a
Yôga session should be dedicated to it. In the ády ashtánga sádhana of Ancient
Yôga (SwáSthya Yôga), pránáyáma should always be practiced after the mantras,
since the ultra-sounds produced by mantras purify the nádis so that the prána can
flow more efficiently through energy channels mentioned previously. Without this
step, pránáyáma can not be mastered and the techniques would simply be breathing
exercises, which could be beneficial to the respiratory airways, lung capacity, the
voice etc. but not effective in the expansion of prána, pránáyáma.

WHAT TO DO
Pránáyámas can be performed seated, laying down or standing. Only in exceptional
cases are they done in inverted positions. There are ásanas especially for respiratory
exercises. They are neutral seated positions in which the back is always straight and
the legs almost always crossed. Notwithstanding, the pránáyámas can also be
combined with other active ásanas depending on the depth of knowledge and
experience of the individual administering the class. We recommend that beginners
close their eyes to minimize distractions. Veteran practitioners, on the other hand,
don’t need this extra aid.

WHAT NOT TO DO
1. Do not teach kúmbhakas or other advanced pránáyámas to beginner
students or sensitive, paranormal or ill students. Do not allow epileptics to
execute kúmbhakas or bhastrikás. Do not ask students to execute standing
ásanas where it is required to bend backwards accompanied by púrakas or
kúmbhakas. Avoid executing pránáyámas immediately before inversions
because in some people incompatibilities between these two modes of
techniques have been found. Avoid leading bhastriká with the practitioner
standing because it can result in dizziness and in some, it is even capable
of bringing them to the floor.

2. We recommend that teachers avoid experiences with their students using

other proportions of púraka, kúmbhaka, rêchaka and shúnyaka that are not
in this manual. This warning is clearly justified in that these proportions go
back thousands of years in our lineage and we know their effects very well.
If a teacher adopts other proportions for the sake of introducing something
new, he will be placing at risk the health of his ‘guinea pigs,’ the
practitioners. Yôga is fundamentally empirical. If the respective technique
were innocuous or even harmful, over time, it would have been excluded. If
it were efficient and beneficial, it would have been incorporated into the
 patrimony of Yôga. But, in order for a technique to be inserted or adopted
into our tradition, centuries of experimentation and some victims are
necessary.

A TIP
1. Recommend that your practitioners clean their nasal passages before the
practice. During the pránáyámas, provide tissues, placing them at the reach of
the practitioners. Teach each of them to dispose their own tissues in the
recipient at the end of the practice.
2. To foster loyalty and respect in your student, the teacher needs to
demonstrate ostensive loyalty and respect for his own Master. If his pupils do
not perceive this attitude on the part of their teacher, he might as well give up
attempting to foster this feeling in them towards him.

ILLOCUTIONARY MODEL FOR PRACTICING PRÁNÁYÁMA

TH
“4 ANGA: PRÁNÁYÁMA – EXPANSION OF BIO-ENERGY THROUGH BREATHING Begin
the breathing exercises by gently resting your hands on your knees with your index
fingers and thumb touching in the jñána mudrá, palms facing upward if it is day, or
downward, if it is night.
Those who are already more experienced can begin with the bandha kúmbhaka, that
is, complete breathing, with rhythm and bandhas. The rest should begin to breathe
naturally, with your back straight, your body relaxed and breathing exclusively
through the nostrils in a tranquil, smooth, deep, abdominal and silent manner.
Feel the air penetrating through your nostrils, flowing through every respiratory duct
to your lungs and once there, the blood assimilating the bio-energy and transmitting it
to each cell of every organ, of your entire body.
Inhale, projecting your abdomen outward, and exhale, contracting it inward.
Memorize this rule: when air enters, the abdomen is pushed outward; when air
leaves, the abdomen is pulled inward. Repeating: air enters, stomach out; air leaves,
stomach in.
Inhale, projecting your stomach out and tilting your head back. At this point, press
your tongue against your soft palate, which is in the roof of your mouth, close to your
throat.
Exhale, pulling your stomach in and tilting your head forward pressing your chin
against your chest. At this point, contract the sphincters of your anus and urethra.
While maintaining this contraction, try to feel the revitalizing effects on your sexual
organs. Continue: inhale, stomach out, head tilted back, tongue against the soft
palate. Hold for a few instants… now, exhale, head forward, abdomen strongly pulled
inward and contract the sphincters.
After repeating the first exercise of abdominal or complete breathing a few times,
move on to the following exercise, which is the bhastriká, the rapid blow breathing
exercise. Accelerate your breathing forcefully, noisily and rapidly, inhaling and
exhaling through your nostrils without contracting your physiognomy or shaking your
arms. Like this:
……………………………………….[Execution of the pránáyáma]
……………………………………….
The hyper-oxygenation that this pránáyáma provides is extremely effective in
eliminating states of depression. It also greatly aids those needing quick reasoning
skills.
Now move on to the alternated breathing exercise, sukha púrvaka or vamah krama,
depending on the presence or absence of an established rhythm.
Pay attention: maintaining the jñána mudrá, with your thumb and index fingers
together, use the middle finger of your right hand to obstruct your right nostril and
inhale through your left. When your lungs are full, change the active nostril, now
closing the left and exhaling through your right. With your lungs empty, do not
change nostrils, inhale through the right. When your lungs are full, swap the active
nostril and exhale through the other.
Continue with the process, always alternating the active nostril when your lungs are
full and never when they are empty. Remember that our breathing exercises are
always done with the back straight and, with few exceptions, in absolute silence.
Once you familiarize yourself with the vamah krama, you can transform it into sukha
púrvaka, a more advanced pránáyáma, by adding rhythm. Inhale through one nostril
in a determined length of time, retain the air four times as long and exhale in twice
the time as you took to inhale. We then have the rhythm 1-4-2. Inhale in four seconds
through one nostril, retain the air for sixteen seconds and exhale in eight seconds
through the other nostril.
Do not forget to maintain the complete breathing during this and all other respiratory
exercises as well as in all your activities throughout the day. Such breathing consists
of fully filling the lungs, successively dilating the lower, middle and upper parts in this
order, and exhaling inversely, letting the air out of the upper, middle then lower parts
of the lungs.
To complete the alternated breathing, exhale through the left nostril, as you began by
inhaling through it.”
EITHICAL WARNING
Do not invent things. The techniques of Yôga are safe because they count on
millennia of experimenting. Do not assume the karma of harming the health of
another person through the irresponsibility of wanting to innovate. There are no
innovations in Yôga. If you do not know a sufficient number of techniques, be honest
and take a course that is well respected and renowned. Do not give your money to
imposters. Don’t be an imposter either.