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Kristallen Klankschaal B-Toon 35 cmDeze kristallen klankschaal is afgestemd op de toon B en wordt geleverd met een leren aanstrijkstok en een rubberen opzetring. Deze nieuw gemaakte kristallen klankschalen zijn van zeer hoge kwaliteit. Ze worden gevormd uit puur kwartszand dat verhit wordt tot ongeveer 4000 graden. Door deze intense warmte versmelten de kwartsdeeltjes tot een vaste massa, die daarna in speciale mallen wordt gegoten. Vervolgens worden de schalen op specifieke tonen
Deze kristallen klankschaal is afgestemd op de toon B en wordt geleverd met een leren aanstrijkstok en een rubberen opzetring.
Deze nieuw gemaakte kristallen klankschalen zijn van zeer hoge kwaliteit. Ze worden gevormd uit puur kwartszand dat verhit wordt tot ongeveer 4000 graden. Door deze intense warmte versmelten de kwartsdeeltjes tot een vaste massa, die daarna in speciale mallen wordt gegoten. Vervolgens worden de schalen op specifieke tonen geslepen. De grootte van de schaal beïnvloedt de toonhoogte: kleine, dunwandige schalen produceren hogere tonen, terwijl grotere en dikwandigere schalen een lagere toon geven. Over het algemeen ervaren mensen hogere tonen als verfrissend en reinigend, en diepe tonen als ontspannend en aardend. Iedereen voelt de klanken op een eigen manier, dus de ervaring met een klankschaal is altijd persoonlijk. Het is daarom fijn om verschillende soorten kloppers te gebruiken. Denk aan beklede kloppers van rubber, leer, vilt of wol. Gebruik nooit kale houten kloppers bij deze kwetsbare schalen. Elke klopper heeft zijn eigen klankkleur, die je het beste zelf kunt ontdekken. Zo vind je de klopper die voor jouw ritueelmoment het mooiste geluid geeft. De exacte toon kan per schaal iets verschillen door de grootte, randhoogte en dikte, maar ook door het fabricageproces. Soms is een formaat klankschaal verkrijgbaar in meerdere toonhoogtes. Wanneer je meerdere kristallen klankschalen samen bespeelt, kunnen er harmonieuze klanken ontstaan. Die omhullen je en brengen het lichaam subtiel in beweging, waardoor er ruimte ontstaat voor innerlijke rust. Houd het spelen van de schaal rond 15 tot 20 minuten per keer. Daarna is het fijn om even een pauze te nemen en het effect in jezelf te laten nazinderen. Ook degene die de schaal bespeelt ondergaat een energieproces. Zet daarom altijd een heldere intentie voordat je begint, zodat de klankschaal jouw bewuste aandacht en kracht weerspiegelt.
Misschien zoek je een klankschaal die is afgestemd op een specifiek chakra. Kleinere klankschalen passen bij hogere chakra’s doordat ze een hoge toon produceren. Grotere schalen corresponderen met de lagere chakra’s door hun dieper geluid. De meest gebruikte toonhoogten voor de zeven hoofdchakra’s zijn: één voor aarding en stabiliteit, twee voor creatie en seksualiteit, drie voor zelfwaardering en voorspoed, vier voor liefde en gezondheid, vijf voor communicatie en creativiteit, zes voor intuïtie en mentale helderheid, en zeven voor verbinding met het hogere zelf en spiritualiteit. De klanken van de kristallen klankschaal nodigen uit tot ontspanning en kunnen je ritueel verdiepen. Door mee te zingen of te visualiseren met deze tonen kun je je intentie verder versterken. Gedachten zijn energie, en samen met de heldere resonantie van kwarts, kunnen ze je bewustzijn op een zachte manier ondersteunen. Zo ontstaat een zachtere samenwerking tussen lichaam en geest.
Voordat je de kristallen klankschaal bespeelt, neem even de tijd om jezelf te kalmeren. Een eenvoudige ademoefening helpt hierbij: adem in en tel rustig tot vier, houd je adem even vast zonder te forceren, en adem uit in acht tellen. Herhaal dit een paar minuten om helderheid en rust te brengen. Stel je daarna voor dat jij en de klankschaal omhuld zijn door een helder wit licht, dat ook in je lichaam stroomt. Soms kan je ook een kleurbeeld toevoegen die past bij de toon van de schaal, maar wit licht is ook heel zuiver. Het kan helpen om een affirmatie op te zeggen, hardop of in jezelf. Richt je gedachten daarbij op wat je wilt bereiken en formuleer positief, in de tegenwoordige tijd. Bijvoorbeeld: ‘Mijn hoofd is helder en kalm’. Wanneer je klaar bent om te beginnen, strijk dan rustig met de leren klopper langs de bovenrand van de schaal. Dit geluid is verfijnder en langer klinkend, vergelijkbaar met het laten zingen van kristalglas. Sommige mensen bewegen de klopper alleen met de klok mee, anderen wisselen af. Voel zelf wat voor jou klopt. Let erop nooit iemand het hoofd in de schaal te laten steken wanneer je speelt, en speel de schaal niet te hard, zeker niet in de buurt van het hoofd. Heb je meerdere kristallen klankschalen, zet ze minimaal 30 centimeter uit elkaar om beschadiging door trillingen te voorkomen. Werk je met anderen, vraag dan altijd of ze metalen implantaten hebben, zoals pennen of kunstgewrichten. In dat geval kan het geluid ongemak veroorzaken. Zo kun je met aandacht en respect een ruimte creëren waarin jouw ritueelmoment rustig kan komen en verdiepen.
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4.4 ★★★★★
Based on 14 reviews
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Product Reviews
★★★★★ 5
A Dyadic Review: Baffling, Brilliant
Difficult. Rewarding.
Serious. Hilarious.
Wise. Faux-wise.
Scholarly. Mock-scholarly.
Observant. Absurdly, obsessively observant.
Sharp characterizations. Ridiculous characters.
Devout. Bawdy.
Endearing. Frustrating.
Genius. Barking mad.
Narratively incoherent. Stream-of-consciousness associative.
Consistently provincial. Profoundly universal.
Mired in the 18th century. Harbinger of 20th century literary Modernism.
Baffling. Brilliant
Not for every taste. For my taste.
And while I'm at it, let me give a shout-out for the out-of-print Norton critical edition, which provides many helps, essay avenues of understanding, and a clever chapter summary/table of contents. For so many years - since reading Moby Dick in grad school with the help of a Norton critical - this publication line has been my go-to for great texts: useful annotations, contemporary reviews, later scholarly articles, and more.
And also let me give a shout-out to Anton Lesser, who narrated the complete novel for Naxos. I have never, ever experienced an audiobook as masterfully produced and narrated as Naxos' Tristram Shandy. No, it is simply not a book one can listen to and fully comprehend as heard. But one might read while listening, or listen while reading, with - if you have the riight software - the narration sped up closer to one's own reading speed, and experience the full majesty of Lesser's absolute preparation, with Latin, Greek, French, and German - as well as regional English - beautifully and humorously intoned, character voices carefully differentiated, tone and mood captured, etc. Or, as I do, go for a walk and listen as you walk, and afterward slip into a comfy chair, crack the novel open, and continue from where you left off, or backtrack if necessary to sort out the characters. In any event, and particularly for devotees of audio books, do find Anton Lesser's note-perfect reading, a veritable radio serial, perhaps the last book you'd expect anyone to attempt single-handedly, with My Father, My Uncle Toby, Corporal Trim, Parson Yorick, Doctor Slop, Widow Wadman, and all the rest of the supporting characters beautifully, consistently interpreted. Lesser is, in a galaxy of fine narrators, the greatest I've heard: an absolutely peerless voice actor in a most demanding work.
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Reviewed in the United States on June 13, 2016
★★★★★ 5
Brilliant stream of consciousness style, *extremely* humorous
"The Life and Opinions..." is perhaps impossible to really classify. It purports to be a biography of the fictional Tristram Shandy, but I don't think you can call something a biography when it only covers a year or so of the subject's life! I would say that more than half of the novel actually falls into the "Opinions" referred to in the title. The rest consists of short stories on Tristram's father, uncle, and a couple other minor characters.
I have never in my life read so many digressions from the topic at hand, most of which were utterly irrelevant but the charm of it is that Sterne *knows* they're irrelevant, but mockingly expresses his license of authorship in forcing the reader to go off on these sidetracks. His attitude is: "If you can't wait a chapter or two to get back to the story, well, go take a flying leap, I'm the author." Sometimes the digressions are exasperating. Very unlike Victor Hugo's signature habit of digressing, say when a certain main character in Notre Dame decides to enter the Paris sewers, Hugo takes thirty or more pages to give a history of the design and construction of the Paris sewer system. At least Hugo's digressions have *something* to do with the story.
Well, maybe that's the problem. There isn't a main story in this novel. It's not a storybook. There are many short stories nested within the main framework, but there is no real protagonist or overarching theme of any sort. Indeed, the end comes abruptly and there is absolutely no resolution of any conflict.
It's not trying to teach anything, really.
So what is it? I'm not sure. More a comedy than anything else. Right up there with Dickens' "Pickwick Papers" in terms of humor, but lacking the story. Maybe funnier than Dickens and just as clever. I was rolling in the aisles so many times I lost count.
I read the Penguin edition, edited by Melvyn & Joan New. The back cover does a better job than I could ever do in providing a sense of what you're getting into when you pick this one up:
"No one description will fit this strange, eccentric, endlessly complex masterpiece. It is a fiction about fiction-writing in which the invented world is as much infused with wit and genius as the theme of inventing it. It is a joyful celebration of the infinite possibilities of the art of fiction, and a wry demonstration of its limitations."
It's a large work, it will take a while to work through. It's worth it. There are passages I want to go back to and make copies of to tape to the walls, they're that brilliant.
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Reviewed in the United States on July 31, 2005
★★★★★ 3
Interesting read, but takes some getting used to
I heard about this book on a blog, and figured I'd check it out. It's the rambling tale of a man determined to give you every last detail of everything that might be important to the narrative of his life. Unfortunately, he goes on tangets so often that he doesn't even get to his birth for several chapters, let alone the story of the rest of his life. Along the way, you're introduced to lots of random characters who are (at best) loosely related to the protagonist, but as often as not these tangents are fairly amusing.
The writing is pretty dense, and this along with the tangents had me putting the book down fairly often. It's probably ideal for a commuting book, but I never wanted to just sit down and blitz through big chunks of it.
Overall it's a very different kind of experience than a novel reader typically gets. It's worth a read for a change of pace, but I can't say it's a life-altering read.
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Reviewed in the United States on March 21, 2013
★★★★★ 4
Mixed Bag
Everyone should know, first off, that the Dover thrift edition is NOT a graphic adaptation. For some reason, Amazon has attached editorial reviews from the hardcover edition of the graphic novel version to this page.
Now, the book itself offers a range of experiences from delightfully hilarious to annoyingly tedious. Lots of the "funny" parts depend on an understanding of 18th-century social mores. I'm sure some of it went over my head but I'm enough of a nerd to have enjoyed most of the drollery. I think...
The story is whimsical, told all out of order by a scatterbrained, easily-distracted narrator. Tristram Shandy himself is hardly in the novel at all; aside from narrating it, he only appears momentarily as a newborn infant and then as a boy about 6 years old - and his role in both incidents seems peripheral to the carryings-on of the other characters. Each turn in the story reminds the author of something else, and he turns aside to tell stories inside of stories, each of which are necessary to give the reader some vital "background information" .. with the result that the main story hardly moves forward at all. It takes nearly 200 pages just for Tristram to be born! and even then the reader isn't quite sure it has happened since the conversations and minute actions of the other characters are magnified to such an importance that the narrator's own birth is hardly observed. For the most part this rambling comes across as "quirky and delightful" and the novel flows along quite pleasingly in spite (or perhaps because) of it. The digressions add layers to the story.
Except when they don't. The "chapter upon noses" which is a translation of a fictitious(?) Latin work by the great Slwakenbergius, has little bearing on the story. Like most of the book, it builds up to a climax and then stops short of resolution, leaving you to wonder what was the point. It leads nowhere, but at least it was interesting. The same cannot be said of Book VII, which is a sort of travel diary of Tristram (in the novel's "present" time) touring France by post-chaise. Although this is the only significant appearance of Tristram himself as a character in the book, it has absolutely nothing to do with the story/stories he was telling, and it is neither very interesting nor very funny. It serves as nothing but a pointless interruption, delaying the reader for 50 pages before getting to the part we were waiting for: Toby's courtship of the widow Wadman.
This last section goes along nicely for a while, and then the book stops. It doesn't end; it just stops right in the middle of a conversation, with the courtship unresolved and most of the reader's questions unanswered. This is perfectly in keeping with the spirit of the entire novel, but I have to admit it's frustrating. I had trouble deciding whether to give this book 3 or 4 stars but I think it entertained me more than it exasperated me, so I'll give it the benefit of the doubt ... and round up from 3.5. It's worth reading once, just for the experience - there's no other book quite like it - and the price of the Dover Thrift Edition can't be beat.
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Reviewed in the United States on September 23, 2010
★★★★★ 5
An extraordinary tale of an 18th Century family
Have you wanted to read a book where the author decides to "rip out" one of the chapters, or leaves a blank page for you to 'draw' one of the characters? Would you enjoy a story which takes many chapters before the hero manages to be born? This 18th-Century tale is touchingly told. The characters are real, and fascinating. It's not their fault that their story is frequently and impishly interrupted by outlandish "digressions" on the part of an author so creative that his modern descendants are considered to be Joyce and Beckett, as well as many others. Would you enjoy a chapter on Chapters? About buttonholes? About whether parents and their children are kin to each other? A chapter on curses? Poor Laurence Sterne has so much trouble getting two of his characters down the stairs that he finally calls in a "critic" to help! Advice on reading such an unusual, even unique, book: read the first several chapters, then stop and reread them. Continue that process and soon the book will feel quite familiar, and that's when the fun really starts. The Oxford World's Classics edition follows the first edition of the book, and is preferred. Amazon also offers the fully-annotated edition, the "Florida" edition, in three volumes. A caution about the Everyman hardcover edition: they reprinted a later edition which groups Tristram Shandy into three volumes, not nine. And then they renumbered all the chapters! That's OK unless you read secondary sources that refer you to Book VII, Chap 4: good luck ever finding it.
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Reviewed in the United States on June 4, 2000