“Remember the mind should follow
the exhale, inhale and retention.
Exhale, inhale and retention all support the vital force.”
– From T Krishnamacharya’s composition,
the Yoga Rahasya Chapter One verse 34

“Holding the breath gives us a moment when there is nothing happening.
A moment when it should be possible to count.
In fact, the best time to introduce Mantra is not during
inhalation or exhalation but while holding the breath.
It is said that a moment of holding the breath is a moment of Dhyāna.
Some Mantra are very long.
Since we do not have to concentrate on breathing while holding the breath,
these longer Mantra can be recited correctly.”
– TKV Desikachar Religiousness in Yoga Chapter Nine Page 128-129

“The choice of a proper ratio involves two things,
what can be done and what should be done.
What can be done involves a given person’s capacity
to inhale, hold the breath, exhale and hold the breath.
What should be done involves
our direction of movement, our aim, our need.”
– TKV Desikachar ‘Choosing a Ratio and the proper technique for Prāṇāyāma’
Religiousness in Yoga Chapter Twelve Page 163

“The aim in Yoga is to train ourselves so that we can modify
inhalation or exhalation and hold the breath to meet a demand.
That is why we develop different ratios.
If these things can be done,
and if we need a particular ratio,
it is in our pocket.”
– TKV Desikachar ‘Choosing a Ratio and the proper technique for Prāṇāyāma’
Religiousness in Yoga Chapter Twelve Page 173

“As Uḍḍīyāna Bandha is done on holding the breath after exhalation,
one of the most important requirements
is that we are able to do a long holding of the breath
without sacrificing the quality of the inhalation and exhalation.
If this is not possible we should forget about Bandha for the time being.”
– TKV Desikachar ‘The Concept, Preparation and Techniques of Bandha’
Religiousness in Yoga Chapter Fourteen Page 197

“We should anticipate a great reduction in our ability to do
long breathing and holding the breath once we introduce the Bandha.
There is quite a lot of effort involved in doing them.
If a person can do 10.10.20.10, I have found
that with Bandha the breath is reduced to 6.6.12.6,”
– TKV Desikachar ‘The Concept, Preparation and Techniques of Bandha’
Religiousness in Yoga Chapter Fourteen Page 200

“The number of times you say OM on inhalation, holding the breath,
and exhalation is influenced by the length of the breath.
We cannot fix the number of recitations on the basis of the Praṇava itself.
We can only fix it on the basis of a person’s capacity of breath.
If you are simply using OM, it can go with almost any ratio.
If you are using something more complex, say Gāyatrī Mantra,
it is very long and has different structures so there are regulations on
how many times you say it when you inhale, hold the breath, and exhale,
and in what part of the Mantra you can break, etc.”
– TKV Desikachar Religiousness in Yoga ‘Various Approaches to Yoga’ Chapter Seventeen Page 238-239

“Of the Four Aspects of the Breath which is more important,
(such as) holding after inhalation by will and so on?”
– TKV Desikachar Switzerland 1978

“My understanding of Prāṇāyāma is that the Kumbhaka should be an aid.
The aim is to get a feeling difficult to put into words, but different from normal states.
The question is how much does Kumbhaka play a part in this?
So Investigate the use of Kumbhaka and only use it when it helps you be with the breath.”
– TKV Desikachar Switzerland 1978

“We are welcome to use Kumbhaka
but if it in any way affects the quality of the inhale or exhale
and our own relation with this flow, then there is no meaning.
The tragedy of Kumbhaka is that we can use force,
as in Āsana, to achieve our aim.
But why and at what price?”
– TKV Desikachar Switzerland 1978

“Do not make a style or fashion out of Kumbhaka.
Only use it if it helps you feel the breath and
what is happening inside the body.”
– TKV Desikachar Switzerland 1978

“Further, he also added long ago, the idea of Bhāvana in the practice of Prāṇāyāma. Long, long ago, he said, the breathing, inhalation, exhalation and retentions have some sort of relationship with the highest force, Lord Nārāyaṇa.
Inhalation is like an inspiration from God himself.
Retention is some sort of meditation, because you are with Him.
Exhalation is some sort of movement towards God,
and retention after exhale is like a surrender to God.”
– TKV Desikachar Switzerland 1978

“And, in the Prāṇāyāma also, the different types, like Vaikharī,
the different Vṛtti, the different Krama, he put them all into practice.
One of the greatest contributions, I would say, of Krishnamacharya to Prāṇāyāma,
is the use of Bāhya Kumbhaka, and the importance of Recaka, or exhalation.”
– TKV Desikachar Switzerland 1978

“The ancient people introduced holding of the breath
to stop, to quieten the mind,
considered as linked to the movement of Vāta.”
– TKV Desikachar December 1987

“A person who does not have a conscious feeling of the Recaka and Pūraka
should not go into Kumbhaka.”
– TKV Desikachar December 1987

“The quality of the Pūraka (inhale) or Recaka (exhale)
determines the quality of the Kumbhaka (suspension).”
– TKV Desikachar 1987

“According to Krishnamacharya,
one who has not mastered the Bāhya Kumbhaka,
has not mastered the breath.”
– TKV Desikachar 1988

“Emphasis on the inhale brings attention to the upper chest,
with the retention of the breath after the inhale the spine will stretch and create heat.”
– From study notes with TKV Desikachar England 1992

“Moving into the posture after the exhale (Bāhya Kumbhaka) is an adaptation.”
– From study notes with TKV Desikachar England 1992

“It is not essential to work in the firm order of exhale, inhale, holds.
However the exhale should come first,
then you can emphasise the inhale or holds, whichever suits the person or situation.
If the exhale is disturbed you must be careful.
Always start the use of the ratio from the exhale.
Based on the reaction you can play with the inhale and holds.
Never sacrifice the quality of the exhale.
Sometimes the length of the exhale can be sacrificed, but not the quality.
One can refer to Yoga Sūtra I 34 to show that the exhalation should come first.”
– From personal lessons with TKV Desikachar

“Any movement can be done on the exhale or stop.
Not every movement can be done on inhale or hold.
Therefore the gradual movement of the breath
or introduction of the breath
should be directed into the exhale.
The exhale must be respected.
When the exhale is secure or firm,
then the attention can be shifted to the inhale or to work on the holds.”
– From personal lessons with TKV Desikachar

“Jumping should be soundless and
always on the Bāhya Kumbhaka
or pause after the exhale.”
– 108 Postural Practice Pointers

“Whatever the effect Bāhya Kumbhaka has, it is
extended by the use of Uḍḍīyāna and Mūla Bandha.
However the total length of the breath is reduced.
Bandha substantially reduces the lengths
of the Pūraka, the Recaka and the Kumbhaka.
Which and by how much depends on the individual.”
– 108 Mudrā Practice Pointers

“When using the Antar Kumbhaka to lengthen the breath,
always factor in its effect on the length of the exhale.
It should be able to stay the same length and quality.
If it is affected, change the length of the Kumbhaka,
rather than compromising the flow of the breath.”
– 108 Mudrā Practice Pointers

“When intending to use  Uḍḍīyana Bandha don’t
hold the stomach area tensely just after inhaling,
or if using Antar Kumbhaka, just before exhaling.
In choosing working ratios concentrate on those
emphasising the exhale and the Bāhya Kumbhaka.”
– 108 Mudrā Practice Pointers

“Jālandhara Bandha needs to be re-applied
every time during the Bāhya Kumbhaka,
prior to the Pūraka re-inforcing the lock.”
– 108 Mudrā Practice Pointers

“One primary prerequisite to initiation into a Tri Bandha Sādhana
was an ability in Prāṇāyāma within a Vinyāsa Krama around
Nāḍī Śodhana where the crown was 12 breaths at 12.12.12.12.
Thus, before being taught Uḍḍīyana Bandha,
an essential precursor to Mūla Bandha,
there needed to be competence in sustaining Prāṇāyāma,
within a Vinyāsa Krama leading to a crown ratio of 1.1.1.1.
with the Pūraka, Antar Kumbhaka, Recaka and Bāhya Kumbhaka
each set at 12 seconds in a crown of 12.12.12.12. for 12 breaths.
Thus, a Vinyāsa Krama peak of almost 10 minutes sustaining the crown
ratio within a Prāṇāyāma practice, with the entire practice itself totalling
over 20 minutes, all performed with one technique, Nāḍī Śodhana.
This technique alone is already in itself demanding to sustain with
an inaudible softness, as if pouring oil slowly and smoothly amidst
an almost undetectable deftness of finger movement on the nostrils.
A further example of how there needs to be an effortless skill in working
with the Kumbhaka and how our fluency with all four components of the
breath sets a practice direction and evolution in that, amongst other goals,
it determines our readiness to incorporate the Tri Bandha into our Sādhana.”
– 108 Mudrā Practice Pointers

“Explore the Antar Kumbhaka with a soft holding.
Explore the Bāhya Kumbhaka with a firm surrender.”
– 108 Prāṇāyāma Practice Pointers

“Bhāvana for the Breath in Āsana, Mudrā and Prāṇāyāma
– Pūraka – Lifting from the Viśuddhi Cakra
– Antar Kumbhaka – Expanding from the Anahāta Cakra
– Recaka – Contracting from the Svādhiṣṭhāna Cakra
– Bāhya Kumbhaka – Sustaining from the Mūlādhāra Cakra”
– 108 Prāṇāyāma Practice Pointers

“Learning how to hold the breath
can lead one to the experience
of being held by the breath.”
– 108 Prāṇāyāma Practice Pointers

“Prāṇāyāma, the same as with Āsana and Dhyānam,
was taught according to the core principles within
Cikitsā Krama, Rakṣaṇa Krama and Śikṣaṇa Krama.
Thus we have breathwork practice possibilities
ranging from Cikitsā, using simple ratios to settle
an irregular breathing pattern or pulse fluctuation,
to Rakṣaṇa, with a visible competence and fluidity
within a range of basic techniques and mild ratios,
to Śikṣaṇa and a skill base encompassing all techniques,
and ratios and especially, the application and integration of
Kumbhaka with long holds both after the inhale and the exhale.”
– 108 Prāṇāyāma Practice Pointers

“What can define a transition between
Cikitsā Krama, Rakṣaṇa Krama and
Śikṣaṇa Krama in terms of the breath?
Is it that in Cikitsā Krama, the priority is
within Āsana practice and establishing a
core relationship with using the breath?
Whereas, in Rakṣaṇa Krama, the priority
is within Āsana practice, and developing
the core relationship, primarily with the
exhale and secondarily with the inhale?
Whereas, in Śikṣaṇa Krama, the priority is
within Prāṇāyāma practice, and developing
the core relationship, primarily with the exhale
and the inhale, and secondarily with the holds?”
– 108 Prāṇāyāma Practice Pointers

“These days, it appears that
there is not much place for, or
interest in the use of Kumbhaka
within the practice of Prāṇāyāma.
If used at all it appears to be mainly
Cikitsā or about recovery, or at best about
Rakṣaṇa or constitutional support, rather than
Śikṣaṇa and a personal developmental exploration.”
– 108 Prāṇāyāma Practice Pointers

Links to Related Posts:

• Prāṇāyāma & Bandha Techniques Glossary
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• Āsana & Mudrā Practice Techniques Glossary
  – Grouped into Standing, Kneeling, Lying,
  Inverted, Backbend, Seated & Sitting
• An example personal practice from 1980 from TKV Desikachar……
• Compendium of Quotes from TKV Desikachar on the Yoga of T Krishnamacharya……
• Considerations for Vinyāsa Krama around Bakāsana……
• cYs Practitioner Training Programme Retreat Extract 2 – Self Planning & Self Practice
• cYs Practitioner Training Programme Retreat Extract 3 – Self Planning & Self Practice
• cYs Practitioner Training Programme Retreat Extract 4 – Self Planning & Self Practice
• Exploring Prāṇāyāma within Cikitsā, Rakṣaṇa and Śikṣaṇa Krama…
• Sound – A Means Beyond Āsana and Prāṇāyāma……
• The Viniyoga of Inversion as an Āsana or as a Mudrā……
• Viniyoga Vignette 1 – Antar and Bāhya Kumbhaka in Āsana
• Viniyoga Vignette 2 – Combining techniques in Prāṇāyāma
• Viniyoga Vignette 2 Commentary on – Combining techniques in Prāṇāyāma
• Viniyoga Vignette 3 – Śītalī and Anuloma Ujjāyī Prāṇāyāma within Āsana
• Viniyoga Vignette 4 – Combining Prāṇāyāma within Āsana
• Viniyoga Vignette 5 – Introducing Uḍḍīyana Bandha within an Āsana practice