Practices

Start with a count of four in and four out, then drop the count. Once the rhythm is there your body will choose its own length: six and six, eight and eight, whatever settles you.

The count is scaffolding. Holding onto it too long turns the practice into something you can pass or fail, which is the opposite of the point.…

Rather than pulling in a big breath, breathe gently and slightly less than you want to, then wait. The deep breath that arrives by itself does more than the one you force.

Keep the breathing light and unhurried, and after a while a mild hunger for air builds. Let it build a little. At some point the body takes a fuller…

Holding your breath for a moment makes the next one deeper, which sounds backwards until you know why. The urge to breathe is driven by carbon dioxide, not by a shortage of air.

Sensors in the brainstem watch the level of carbon dioxide in your blood, and a pause, especially after breathing out, lets it rise a little. The…

The three ordinary breaths between rounds are not a gap in the practice. They are where you find out what the practice did.

Come back to normal breathing and check the body, the thoughts, the mood, the energy. Do not analyse it, just register it. Going round after round…

To find the soft ocean sounding breath, breathe out through your mouth as if fogging up a mirror. Then keep that same slight narrowing at the throat with your mouth closed, and let the sound get quieter and quieter.

Starting with the mirror gives you something to do instead of an anatomy lesson about a part of the throat you cannot see. Once the mouth closes, the…

Close your right nostril with your thumb and breathe in through the left. Swap fingers at the top, breathe out through the right, in through the right, then out through the left. That is one round.

The fiddliness is not a flaw in the design. Keeping track of which nostril and which stage takes up just enough of your mind that there is little…