Graduates of Level I
Level II picks up where the thirty two hours leave off.
Forty Hours to Find Your Own Voice in It
For practitioners already working with sound: two weekends in person with Hamid Jabbar, four integration calls after them, and a practicum you design.
You Should Already Be Holding Sessions for Other People
This assumes a foundation: Level I here, or equivalent training somewhere else. Level II takes it as given that you already work with the instruments, so the time goes on everything after that.
Practitioners Who Trained Somewhere Else
And who have been holding sessions for a while. For anyone new to these trainings, there is a twenty hour online course that covers the ground Level I does.
Start with Level I
It goes deep and it asks for experience. For anybody not yet running sessions for other people, Level I is the one to take first.
For Years the Answer Was Not to Wait for It
Graduates of Level I used to ask when the Level II was. The joke was that Level II is learning how to load the car with all the instruments, and then came the real answer, which is that most of Level II is going out and doing it. Practicing, refining, listening, learning to hold a room.
That was true and it was not the whole answer. Meanwhile the curriculum kept growing, and after about seven years of the same reply it became a real training in 2025.
What the Forty Hours Cover
Five areas, and a sixth that the group in the room decides.
You Leave With
Advanced gong technique, with friction mallets taken past the basics, and a soundscape built in layers rather than one instrument after another.
Meditation guided in your own voice, with a script and without one.
A clearer sense of when to leave the silence alone, and a way of running this that supports you.
Mastering Your Instruments
Advanced gong and bowl technique, where playing less gets you more. Nuanced mallet work, extended friction mallet technique, vocal range and presence, the overtone flute, and the quiet end of the collection: artisanal bells, rattles, chakapas, shakers.
Composition and Soundscape
Building layers and textures that carry people somewhere, rather than playing one instrument after another. The crossing from sound work into music, harmonic theory at the keyboard and harmonium, and weaving in wind, ocean and rain.
Facilitation
Guiding a meditation with a script and without one until it sounds like you. Holding space with real boundaries, the power of the silence between sounds, and designing a session around a theme rather than around a playlist.
Professional Practice
Cultural context and appropriation, honoring where these instruments come from while finding your own expression. New instruments and where the field is going. How to run this as something that sustains itself.
Integration and Expanded States
How sound meets non ordinary states, what is measurable about this work and what is not, helping people process and ground what came up, and sound as something that catalyzes rather than only relaxes.
And Whatever the Group Brings
Every cohort turns up with its own questions and its own curiosities, and those become part of the curriculum.
It Carries On After You Drive Home
Four Integration Calls
Four integration calls run after the in person weekends, once the material has had somewhere to land. That is deliberate. Most of what is hard about this work turns up the first few times you do it on your own.
A Practicum You Design
There is also a two hour practicum, designed with you rather than handed to you. It might be teaching a class, writing or research, or running an offering of your own that uses sound. You and your teacher agree what it is together.
“By Level II the technique is mostly there. What is left is knowing when not to play, and that is the part that separates a session that lands from a session that is merely loud.”
Hamid Jabbar
How to Get a Place
Each run is announced in the newsletter and on the events page, and you can ask about a place before a date is set.
Two weekends in person, four integration calls afterward, and a two hour practicum of your own. The place is given with each date.
Each run is priced when it is scheduled, and the figures are confirmed in writing before anybody pays. Tuition covers all materials and is not refundable. A deposit holds a place, and the deposit is non refundable.
Your place stays with the run it was booked for. If a run is canceled or moved, you choose a full refund or a place on the next run.
The full terms for every training are on the legal page. Finishing carries a certificate of completion and Yoga Alliance continuing education hours, for anyone who needs the documentation for a studio or a venue.
Before You Ask About a Place
Do I bring my own instruments?
All the instruments are in the room. By Level II most people arrive with their own as well, and the work is on what you actually play. If you are looking to add something, you get help choosing.
If bowls are what you are adding, there is a long written guide to how they are made and what separates a good one.
What should I call this work?
Anybody already working with people has had to decide what to call this, and the decision is worth making on purpose.
What if I would rather work one to one?
Sound Mentorship is the one to ask about if what you want is shaped around you rather than around a cohort.