Tap the Teeth and Drum the Ears

叩齿鸣鼓 · Kòu Chǐ Míng Gǔ · Form 02 of 12 · Twelve-Section Brocade

Form name in the official English edition: "Tapping Teeth and Sounding Drums" Health Qigong — 12-Routine Exercises, General Administration of Sport of China (Foreign Languages Press 外文出版社, 2012 · ISBN 9787119078717). We checked this title against that book's table of contents; the step text below comes from a different source, named underneath.

Where this step text comes from. The Twelve-Section Brocade is the routine promoted by the General Administration of Sport of China (2010). The official textbook is not obtainable, so the step-by-step text here follows Zhang Hailing's Shi Er Duan Jin (Beijing Sport University Press, 2012, ISBN 978-7-5644-1117-6), the only source we can verify word for word. It agrees with a separately transcribed copy of the textbook's technical notes. We are not claiming this reproduces the official standard word for word.

Open the fists into palms, sweep the hands out to the sides with the palms facing back and the fingertips outward, then turn them forward and seal the ear openings with the middle fingertips. With the ears sealed and the attention on the action itself, tap the teeth together 36 times — mainly with the molars — listening and counting silently, and swallow any saliva that gathers. Draw the middle fingers out of the ears, press the palms firmly over the openings again, clasp the nape, and flick the index fingers off the middle fingers onto the back of the skull 24 times. Release the ears sharply, as if drawing the air out of them, then reach the palms forward and press them down in front of the abdomen, level with the navel, thumbs facing each other. The order matters: the ears are covered before the teeth are tapped, not after.

Works on: jaw, teeth, hands, ears, neck
Repetitions: One round: 36 tooth taps with the ears covered, then 24 drum beats
Time: 2 min
Difficulty: Gentle
Chair version: Yes — no floor work
Official English name: Tapping Teeth and Sounding Drums
Official source: General Administration of Sport of China, 2010

The classical verse

叩齿三十六，两手抱昆仑；左右鸣天鼓，二十四度闻

This form belongs to the verse line above, from the classical seated routine. Quoting it is how you can tell whether a version of this movement you find elsewhere is the same one.

The classical text pairs the two actions and fixes both counts — thirty-six taps and twenty-four beats — and notes that the teeth are tapped lightly and the ears are sealed so the sound is heard inwardly. It is presented as a self-massage practice, not as a stretch.

How to do it

The official form is practised sitting cross-legged on a firm wedge-shaped cushion with the front edge lower than the back. Every step below also says what to do if you are sitting in a chair — the two are the same movement, only the seat differs, so there is no separate version to choose between.

Continuing from the 'gu' fists at the knees, open the hands into palms and carry them back past the waist; rotate the arms inward and raise the palms out to the sides at shoulder height, the palms facing back and the fingertips pointing outward. In a chair: start from the same fists resting on the thighs rather than on the knees; everything from the sweep back past the waist onward is unchanged.
When the hands reach shoulder height, rotate the arms outward so that the palms face forward; look straight ahead.
Without pausing, bend the elbows and shape both hands into the 'tong tian zhi' (heaven-reaching finger), extending the middle fingers and gathering the other fingers lightly; seal the openings of both ears with the two middle fingertips. In a chair: if pressing a fingertip into the ear opening is uncomfortable, simply rest the finger over the opening so the ear is still covered — the seal is what matters.
Keep the attention on the tapping itself and the eyes half closed, the gaze drawn down and forward. Tap the upper and lower teeth together 36 times, mainly with the molars at the back of the jaw rather than the front teeth, listening quietly and counting silently while the palms keep the ear openings sealed. If saliva gathers, swallow it down.
Draw the two middle fingers away from the ear openings; look down and forward.
Press the palms firmly over the ear openings once more and lay the ten fingers lightly on the back of the head; the hands clasp the 'jade pillow' area — the nape at the back of the head — not the crown.
Rest the pads of the middle fingers on the bony bump at the back of the skull, then lay each index finger across the back of its own middle finger. Let each index finger flick off the middle finger, with a spring rather than a blow, to tap the back of the head; repeat 24 times, keeping the eyes half closed.
Release both palms away from the ears sharply, as if drawing the air out of the ear openings.
Reach both palms forward and press them slowly down in front of the abdomen, level with the navel, the two thumbs facing each other and the palms facing down; look straight ahead.

If you are sitting in a chair

The differences worth knowing before you start — the substitutions are already written into each step above.

Everything in the official form can be done from a chair; only the starting point changes, since you begin already seated.
If pressing a fingertip into the ear opening is uncomfortable, rest the finger over the opening so the ear is still covered.

Breathing and intention

Breathe in and out through the nose throughout, without counting the breath. The official notes ask you to keep the ear openings sealed, concentrate, listen quietly and count the taps silently, so the attention follows the sound rather than the breath; make the breath as slow and even as you can, and on each out-breath draw the abdomen in and try to empty the lungs completely. Never hold the breath while counting.

Common mistakes

Tapping the teeth before the ears are covered — the official order is to seal the ears first, then tap and count silently.
Tapping with the front teeth. The tapping is done mainly with the molars at the back of the jaw, and the lips stay lightly closed.
Looking up or around while tapping. The gaze is drawn inward and down, the eyes half closed, and the attention stays on the tapping action.
Letting the saliva that gathers during the tapping sit in the mouth; the official note asks you to swallow it down.
Clasping the top of the head instead of the nape — the hands embrace the 'jade pillow' area at the back of the head.
Pushing the fingertips deep into the ear canal; the instruction is to cover and seal the opening, which needs only light contact.
Striking the back of the head with force; the index finger should flick with a spring and sound soft.
Breathing through the mouth, or holding the breath while counting to 36 and then to 24.

Before you start

Do not do this movement if you have a recent dental procedure, loose teeth, or a jaw disorder without clearing it with your dentist or doctor first.
Skip or reduce the head taps if you have had recent head or neck surgery, or if you have an ear infection or a perforated eardrum.
If you wear hearing aids, remove them before covering the ears.
Use light contact only; stop if either the taps or the drum beats cause pain or ringing in the ears.

Safety first

Ask your doctor before starting if you have heart disease, uncontrolled blood pressure, dizziness or fainting, a fall in the last 6 months, surgery in the last 3 months, diagnosed osteoporosis, a hip or knee replacement, a painful joint, or pregnancy.
Pain is a stop sign. Stop with burning, pressure or sharp pain; ordinary muscle tiredness is different from pain.
For seated work use a sturdy, armless, wheel-free chair with a firm seat against a wall. Keep both feet flat, and use a stable book under the foot if you need it.
For every standing or balance movement keep a fixed support within one arm's reach.
Never hold your breath. Breathe with the movement, and return to normal breathing when the effort rises.
If you feel dizzy, sit down, wait one minute, and end the session for that day.
Drink water, practise at least one hour after a meal, and use non-slip shoes or a non-slip bare-foot surface.
Use a comfortable range. Forward bends come from the hips with a long, neutral spine; avoid sudden twisting.
This programme is not medical treatment and does not replace physiotherapy.

Where it comes from

This is the first named figure in the Ming-dynasty seated set — "tapping the teeth and gathering the spirit" — combined in the modern routine with the twenty-four drum beats of the following line.

The Twelve-Section Brocade is the modern official form of the seated Eight-Section Brocade, also called the literary eight-section brocade (wen baduanjin), which the Ming dynasty texts record in eight figures. Its name appears in the eighteenth-century Shoushi Chuanzhen, and the version in most circulation today comes from the Neigong Tushuo. It was standardised as an official routine in 2010 by the General Administration of Sport of China.

Sources

General Administration of Sport of China, Twelve-Section Brocade practice notes
Chinese Health Qigong Association, Health Qigong · Shi Er Duan Jin (routine overview)
Zhang Hailing, Shi Er Duan Jin, Beijing Sport University Press, 2012 (ISBN 978-7-5644-1117-6) — a second independent source for the movement text, not the official textbook. Our own word-for-word transcription of its seated chapter is not filed in this repository, so the site cites the book rather than a page reference.

Common questions

Can I do Tap the Teeth and Drum the Ears from a chair?

Yes. The official form is practised sitting cross-legged on a cushion, but this page gives a chair version that keeps the same movement while removing the need to get down onto the floor. Both versions are listed further down this page.

How many repetitions does Tap the Teeth and Drum the Ears take?

One round: 36 tooth taps with the ears covered, then 24 drum beats. The classical texts give their own counts, which are quoted on this page where they differ.

What does Tap the Teeth and Drum the Ears involve?

It works mainly the jaw, teeth, hands, ears, neck. In the traditional framing it belongs to the 叩齿鸣鼓 principle; practically, it is a slow movement, self-massage or stillness practice depending on the form.

How long does Tap the Teeth and Drum the Ears take?

About 2 minutes. The pace is set by the breath rather than a timer, so slower is generally better.

Where does Tap the Teeth and Drum the Ears come from?

When should I be careful with Tap the Teeth and Drum the Ears?

Do not do this movement if you have a recent dental procedure, loose teeth, or a jaw disorder without clearing it with your dentist or doctor first. Skip or reduce the head taps if you have had recent head or neck surgery, or if you have an ear infection or a perforated eardrum. If you wear hearing aids, remove them before covering the ears. Use light contact only; stop if either the taps or the drum beats cause pain or ringing in the ears.

What else is Tap the Teeth and Drum the Ears called?

In Chinese it is 叩齿鸣鼓 (Kòu Chǐ Míng Gǔ). The official English edition of the routine calls it "Tapping Teeth and Sounding Drums". Descriptive English sources also use Click the Teeth and Beat the Heavenly Drum, Chattering Teeth, Drumming Ears and Knocking Teeth and Sounding the Drum. It is the same movement in every case, and the classical verse line it belongs to reads "叩齿三十六，两手抱昆仑；左右鸣天鼓，二十四度闻".

Written by LiHe — practitioner, teacher and consultant in qigong and traditional health practice. Review status and sources are shown below where available.

This is general movement education, not medical advice. It does not diagnose, treat or cure any condition. Read the full disclaimer.

The Chinese names are the traditional names of the movements. They are not medical claims, and this site does not diagnose, treat or cure any condition.

Last reviewed: 2026-10-08
Movement data: Standing form follows the Chinese Fitness Qigong Association standard routine. The chair versions are this pack's own adaptation, written for a seated reader.. Version v0.5.
Additional source: The Twelve-Section Brocade is the routine promoted by the General Administration of Sport of China (2010). Step text follows Zhang Hailing, Shi Er Duan Jin (Beijing Sport University Press, 2012, ISBN 978-7-5644-1117-6). English form names follow the English edition of the routine (Foreign Languages Press, 2012, ISBN 9787119078717).