From Kundalini page 21
The air is inhaled slowly through the left nostril (which is connected with the lunay channel, Ida¯ while right nostril is closed with the thumb. The breath is then held, while meditating on the seed-sound syllable Yam, and exhaled in the correct rhythm. The same procedure is repeated using the right nostril (which is connected with the solar channel, Pingala¯ and the seed-sound syllable Ram. Ida¯ and Pingala¯, as they rise from the region of the coccyx, entwine around the Suchumna¯, crossing from side to side at nodes between the chakras. (It is interesting to note that the same spiral pattern is seen in the double-helix configuration of the DNA-molecule containing the genetic code of life.) In the practice of Pra¯na¯ya¯ma, these pathways are purified (cleansing of the na¯di¯s) to allow the free flow of psychic forces.
During this yogic discipline, the primal sound Om (A-U-M), or a similar seed-sound syllable drawn from the Sanskrit alphabet, is uttered repeatedly, not only as a measure of duration, but to provide a sound-vibration which has a connection with the subtle channels and chakras; for each chakra has a corresponding sound and colour, vibrating at different frequencies. Starting with the root chakra and working up to the top of the head, these vibration-rates are given by the Tantric texts as 4, 6, 10, 12, 16, 2, 1000; and the number of 'rays' of tattvas (subtle elements) has been mentioned as 56 for Mu¯la¯dha¯ra, 62 for Sva¯dhistha¯na, 52 for Manipu&merc;ra, 54 for Ana¯hata, 72 for Visuddha and 64 for A&merc;jña.
One of the vital airs of Pra¯na is the Apa¯na, which controls the situation it occupies below the navel region. It is associated with the colours purple and orange, and is linked from below with the fire element. According to the Yoga Kundalini&merc; Upanishad (42-46), 'When one causes the downward Apa¯na to move upwards [by constriction of the sphincter muscles of the rectum], it is known as Mu¯labandha. When the Apa¯na, moving upwards, reaches the region of the fire [element], the flame of fire, caused by the vital air [Pra¯na] to ascend, increases its intensity. When the fire and Apa¯na reach the heated Pra&merc;na, a current is generated in the body. By that current the sleeping Kundalini¯, being very much heated, is roused, and like a snake belaboured with a stick, becomes erect with hissing and by way of entering its hole, reaches the interior of the Brahma-na¯di.'
The cosmic principles moving with the outgoing (i.e. descending) current of vital air are involuted with the starting of the return current. Ascent is to be made in the reverse order to descent. This repeated filling and emptying of breath is the rhythm of the universe itself, sending waves to strike at the root-impulses of Kundalini¯. When Kundalini¯ is struck, she awakens, uncoils (i.e. is dynamized), and begins to rise upwards like a fiery serpent, breaking upon each chakra as she ascends, until the Sakti merges with Siva in laya-yoga (laya=absorption), in deep union, sama¯dhi or enstasis.
It is to the Tantras that we owe the mature development of a system of sound equations (mantra-yoga). Ordinary speech employs sound to express meaning; mantra, the sacral sound, is concerned with sound as being, i.e. with pure sonic vibration. This knowledge did not originate with the Tantras, but with the Vedic yajña and the extreme precision necessary to the original science of sacrifice. The Vedantic meditations of the Upanishads continually invoke the mystic Udgi¯tha (literally 'ultimate song') of the pranava: Om.
With Nandikesvara, one of the earliest masters of Saiva¯gama, all the sounds known through the Sanskrit alphabet are identified as the vocables sprung from the cosmic drum of Siva, i.e. of creation itself. Sound is the paradigm of creation, and its dissolution is re-absorption into its source. While this directly inspired the Indian science of phonetic and morphological systems under Pa¯nini, the famous grammarian of the third century BC, it even more directly strengthened speculation into na¯da (sonic vibration) and its relation to sphota: awakening, manifestation-revelation of being. So that by the time we arrive at the Tantras themselves, there is already a sophisticated working tradition and notational system that is three to four thousand years old.
This composite wisdom was carefully guarded, and only entrusted to those who had the spiritual authority (adhika¯ra) to recognize its significance.
Sure, that's simple. Focus on bringing in lunar nose, then solar nose, and be the DNA microcosm of the universe, surrounded by spiraling energy bands (not snakes!), and finally consumated in the crown where they're "making out." Well at least there is a goal to make it up there! he he..
From all the reading (and writing) I'm doing, I think this book: "Kundalini, The Arousal of the Inner Energy" explains the above best. The only slight unclearness of THIS book is that it uses special characters like d with a dot under it, m with a dot under it, and lines above some vowels. I loved thinking of prana as pray-na and kundalini with the line over is kundalin-I eh? he he.. I looked into the codes in HTML for special characters, I got a basic line above which you see in the above text. HTML doesn't seem to have an a with a line above, so I have to figure out how to solve this.. while leaving it all HTML.. perhaps in my quotes I'll just put dot-below and line-above as characters AFTER the letter, as I did above. Ideas?
May all your Pray-na be joyfully fulfilling. Amen. And so it is. Love n light, Teo