The Mandukya Upanishad and the linguistic philosophy of Bhartrihari's Vakyapadiya delineate four distinct evolutionary tiers of sound that every serious practitioner of japa traverses.
The first tier is Vaikhari: gross, audible vocalization. Here, the tongue, lips, teeth, and larynx actively shape air into physical sound waves. For a beginner whose mind is restless and turbulent, Vaikhari japa is essential. The physical volume and muscular effort drown out distracting thoughts, providing a coarse sensory anchor.
As the practitioner stabilizes, the recitation naturally transitions to the second tier: Madhyama (intermediate or whispered). Here, the vocal cords fall still, but the tongue may twitch imperceptibly, and the mind hears the mantra clearly within the internal chamber of the head.
With continued practice, the mantra deepens into the third tier: Pashyanti (the seeing sound). Here, linear linguistic syllables dissolve into pure intuitive feeling, light, and holistic understanding. Finally, the mantra merges into Para: the supreme, transcendent silence that was present before the first sound arose, the unchanging witness consciousness (Sakshi).