Tag Archives: music

Who Knows? Beatles – Yes or No?

Posted on by

No conspiracies please, we’re reality theorists

CHRIS REA
 Read Time:27 Minutes

By Chris Rea

I cannot remember a time in my life when I was not crazy about the Beatles.

Sergeant Pepper’s Lonely Hearts Club Band was the first record that I listened to as a young child and even today it reverberates with the sensibility of early consciousness.

I became fascinated by the extraordinary story of the Beatles’ achievements and accepted without question the orthodox narrative about their uniqueness, which was the answer to any nagging doubts I might have had about how exactly they became so good so quickly and so enormously – they were unique. They were just … the Beatles.

The Beatles were above all the other groups and solo artists of the 1960s, a decade which produced some outstanding pop and rock music. Everything flowed from them. Their best songs, and there were very few duds in their catalogue, were imperishable achievements of popular musical culture which warranted the exceptional praise they received from music establishment critics and the acclamation they received from the public.

Fixing a rabbit hole

I cleaved to this view until 2022 when I watched a presentation by the US researcher Mike Williams entitled Did the Beatles write all their own music?

Williams argues that at least between 1962 and 1966 they did not, and that they may not have done so from 1967 to 1970 either.

Williams’ thesis is built on an analysis of the recording of the 1965 Rubber Soul album.

It’s a fascinating exposition and I won’t attempt to describe it in detail. The four-and-a-half-hour presentation is worth investing your time in.

In short, he argues that the official narrative about the production of Rubber Soul is not credible.

The band went into the EMI studios on Abbey Road on 12th October 1965 with an almost empty musical locker, faced with the challenge of composing, writing, rehearsing, demoing and recording 14 original songs for the new album and two for a double A side single (‘Day Tripper’/ ‘We Can Work it Out’).

They are supposed to have completed all this by 11th November – and they did not work every day between these dates – with the album mixed, pressed and ready for the Christmas market by 3rd December.

Williams argues that it was simply not possible for the band to produce such a quantity of original music in so short a time.

According to the mainstream story, Rubber Soul’s songs were recorded in an extraordinarily small number of takes. ‘Drive My Car’, for example, was knocked off in four takes, the fourth being the only complete one.

For the conventional narrative to work, there had to be no failed attempts at songs and minimal reworking. Every song they wrote had to be nailed quickly and perfectly.

This would be a tall order under any circumstances but it becomes gigantic when you think about the great leap forward in musical sophistication and complexity Rubber Soul represented compared to its predecessors.

When they were signed by EMI in 1962, the Beatles were a hard-gigging covers band that showed no signs of the musical chops that would be required to write and perform songs like ‘Girl’, ‘Norwegian Wood’, ‘In My Life’ and ‘If I Needed Someone’.

If you’re not sure about this, listen to the Live! at the Star-Club album which was recorded in Hamburg in December 1962, less than three years before the recording of Rubber Soul.

The sound quality is terrible but it is possible to hear the singing and playing beneath the murk and there is nothing, absolutely nothing on this record that indicates that this was a band destined for world-straddling greatness, not to mention high-grade studio proficiency.

Williams also identifies problems with Rubber Soul’s production timeline, suggesting that for all the record’s components, including the sleeve and the disc’s label, to have been ready for manufacturing on 19th November, the running order of the songs must have been known before they had all been recorded – or written, since the mainstream version says that the band were composing throughout the time they spent in the studio.

His conclusion is that the songs that appeared on Rubber Soul were already written and the instrumental parts already recorded by the time the Beatles arrived in the studio on 11th October.

And not by the Beatles. Their job was to learn and lay down the vocal tracks. This task alone was more than enough to fill up the available recording time, Williams argues.

Williams and other researchers have also examined the set lists for the Beatles’ live shows between 1962-1966 and questioned the absence of many of their ‘original’ compositions.

Out of 91 songs allegedly written by the band (almost all of them by Lennon and McCartney) during their time as a touring outfit, just 25 were performed live at their concerts, less than 30% of the total.

There are 26 songs on the aforementioned Star Club album and just two of them are Beatles ‘originals’.

‘Love Me Do’, which had been released as a single that October, wasn’t one of them. It’s extraordinary to think that they weren’t routinely playing their first big hit at this time.

They didn’t play their next big hit single ‘Please Please Me’ either. Although it wouldn’t be released until January 1963, the song had already been recorded by the time the band played the December 1962 Hamburg shows.

The Star Club recordings were made less than two months before the band recorded their debut album, Please Please Me. Just two of the eight Beatles ‘originals’ from that album feature in the set list. Surely by then they would have been road-testing the songs that they were shortly to lay down on their debut album?

And just two songs from Rubber Soul were ever performed live.

More extraordinarily still, the Beatles’ August 1966 tour of the United States that concluded with the band’s last ever public concert at Candlestick Park in San Franscisco featured not one song from the Revolver album that had been released on 5th August.

In 1966, with nearly 100 original pop classics in their armoury, the Beatles were still including rock and roll cover songs in their sets, which typically lasted for no more than half an hour.

The orthodoxy has it that by this time in the band’s career, their songs had become too complicated to replicate live.

According to Wikipedia, ‘none of the tracks from Revolver were included due to the difficulty in reproducing their sophisticated studio sounds and arrangements in a concert setting.’

It is interesting how widely accepted this point of view is. I subscribed to it myself for many years.

But it’s nonsense. ‘Tomorrow Never Knows’ admittedly would be hard to perform live in a way that sounded like the original. The brass parts from ‘Got to Get You into My Life’ would have to go.

But as for ‘Taxman’, ‘And Your Bird Can Sing’, ‘Dr Robert’, ‘She Said She Said’ etc – Beatles tribute acts have easily mastered these songs. You can find many examples on YouTube. The Jam seemingly had no trouble picking up ‘Taxman’ and turning it into ‘Start!’ fifteen years later.

The idea that the band that wrote and performed these songs to such a high standard in the studio couldn’t reproduce them live just weeks later is absurd.

Returning to ‘Drive My Car’ – if it’s the case that they recorded just one complete take for the album, that will have been the only time the band ever played the song right through. Why would they have not wanted to include it in their live shows? Were Lennon and McCartney not proud of their composition? It’s a terrific pop song. You would think that they would be itching to play it, and all their other brilliant songs. ‘Drive My Car’ would have been great live. The band could have dropped out the vocals while the crowd all sang ‘beep-beep, beep-beep, yeah!’ That would have been amazing. But it never happened.

Once you eliminate the impossible, whatever remains, no matter how improbable, must be the truth

It makes no sense at all that the Beatles did not routinely perform their latest studio records at live concerts. With respect to Sherlock Holmes, these are the songs that weren’t played in the night.

Williams believes that the most likely reason they performed such a small part of their own catalogue was because they hadn’t learned how to play most the songs that had been attributed to them.

If it was the case that the Beatles’ job in the studio was to record the vocal tracks for songs that had already been written and instrumentalised, there would have been no need for them to learn to play the instrumental parts.

The Beatles did of course perform some of their ‘original’ compositions live. It would not have been possible to maintain the ‘Lennon and McCartney genius songwriters’ persona otherwise. Therefore, they would have learned just enough of their ‘originals’ to uphold the artifice, with the balance filled out by covers.

This explains why a) their shows were so short, b) why reasonably uncomplicated and straightforward ‘original’ songs like ‘She’s A Woman’ and ‘Baby’s in Black’ stayed in their set for so long, and c) why they had to include the rock and roll covers they had been performing for most of the decade.

The Beatles had a limited palette and they stuck to it right up to the point where it would have been difficult for the biggest band in the world to explain away the absence of great swathes of their own catalogue from their live shows.

I have come to the sad conclusion that John, Paul, George and Ringo were merely the dancing puppets in the shop window of a gigantic psychological operation called Beatlemania and that the Beatles were in fact the world’s first Beatles tribute band – and a tribute band that played fewer Beatles songs than their successors, and not as well.

The Beatles were finished as a unit by 1970 but they have cast a vast shadow over popular culture ever since. It is impossible to treat them insignificantly, which is why what was intended to be a preamble to a larger article has already expended 1,700 words on them.

Thank you for bearing with me while I exorcised my Beatles possession. It hasn’t been a pleasant experience but it has been less traumatic than the realisation in 2020 that most of the Left had sided with the ruling class in the covid war. I don’t think there are many more scales to fall from my eyes now.

By the time we got to Tavistock

If the Beatles were a construct created by powerful ruling class forces, most likely the combined efforts of the intelligence agencies, the Tavistock Institute, media interests, commercial/financial networks, elite families etc, then who knows how many other artists from that era and beyond were not the authentic articles we have been led to believe.

To read the rest, go to the article:  https://real-left.com/no-conspiracies-please-were-reality-theorists/

On the Benefits of Music

Posted on by

Music as Medicine

Music As Medicine

5th November 2014

By Joshua Eagle

Guest Writer for Wake Up World

Just as letters, words and phrases carry vibrational information which transmutes out into our greater universe, so too does music. There may be no greater language with the power to break all universal vibrational communication boundaries than that of music.

Imprinted into the fabric of reality is a fluidity which at the underlying core is comprised of vibration. In this current band of reality we exist in, mediums such as color, geometry, tonality and sound, work to transmute this fluid like energy, often referred to as zero-point energy, ether, or ‘the source’, into our waking state. The act of syncopated drumming in particular is a most powerful way of drawing in this source energy into one’s mind through the creation of a repetitive pulse wave which draws in this energy into one’s individual consciousness, merging the individual mind with that of the universal mind.

In this way, instruments are photonic and vibratory transducers.

Music is Science

The field of Quantum Physics teaches that a foundational seed concept from which all other knowledge of our cosmic universe grows is that of String Theory. The notion of String Theory explains that, while our entire universe is made up of particles and their seemingly ever-unfolding plethora of sub-atomic singularities, it is only when these isolated singularities come together to form a string that intelligence is brought to life.

Whether we are examining the string of a Violin or a strand of our biologic DNA, what is found contained within is an intelligence that becomes born only after singular particles are exposed to photonic energy or photons of light, in combination with the pulse waves being emitted directly from the center of our galaxy. Contained within the frequency of cosmic light and the vibratory pulsation emanating from our galaxy’s core exists what very well may be “God’s code”. This becomes apparent when we see that just exposing our own naked skin to the complete spectrum of UV sunlight triggers over 3,000 DNA activations within our cellular biologic matrix; and this same principle goes for plants, which only after receiving photons of light and engaging in photosynthesis are capable of generating their own food, antioxidants, vitamins and phytochemicals, which we humans ingest as medicine.

It is only when isolated singularities come together to form a string that intelligence is brought to life.

Music as Medicine - Shamanic Drumming

Music in Shamanism

In all indigenous cultures, the medicine man, otherwise known as the Shaman, incorporates music as an integral form of medicine for the community. In areas of the world where sunlight is abundant Shamans integrate their medicine of music with specific entheogenic Shamanic plants to maximize healing benefits. However, in areas of greater northern and southern longitudes where sunlight is sparse and plants are nearly devoid, Shamans rely solely on music as their form of spiritual medicine through the use of syncopated drumming.

In Amazonian Shamanism exists the practice of singing medicine songs called Icaros to the patients or recipients of the plant medicine being given. Within these Icaros themselves, medicine is directly transmuted to the recipients through the vibrational energetic power of the Shaman. Just like when working with crystal healing, where a gem or crystal is charged by sunlight and purified by water or sacred plant smoke, the crystal skeleton and blood of humans (which at its very nature is fluid crystalline water and crystalline bone) becomes charged by the Icaros of the Shaman. In combination with the purification of the medicinal plant smoke, this generates massive healing power within the recipient, if the shaman embodies benevolent intentions.

In this band of reality we exist in, music carries vibrational information which transmutes out into our greater universe.

from:    http://wakeup-world.com/2014/11/05/music-as-medicine/

Reprogramming DNA

Posted on by

Christina Sarich & Dylan Charles | Wakingtimes | March 2014

double-helix-AndreaLaurelAs though to confirm the hunch many of us had that our ‘junk’ DNA was anything but disposable, researchers from the Gene and Stem Cell Therapy Program at Sydney’s Centenary Institute have proven that 97 percent of human DNA programs or encodes proteins in our bodies. One of the researchers involved in this study said, “this discovery, involving what was previously referred to as “junk,” opens up a new level of gene expression control . . .”

This also means there are multiple modalities that mainstream science has yet to give a nod to, which just might re-train or reprogram our DNA — even cells which have become cancerous or are mutilated by the onslaught of toxins in our environment and negative emotional baggage which has been proven to have an undesirable impact on health. Many people have compared human DNA to the Internet. It communicates immense amounts of information in microcosmically small, but significant ways, mimicking a vast network of information portals, not unlike the billions of websites connected to one another all over the world. It may account for our intuition, spontaneous healing, and a number of other phenomena that mainstream science is just beginning to understand.

Chaos Theory and DNA

Chaos theory states that chaotic appearances are just a very complex system affected by very subtle changes in an almost infinite array of varying possibilities. When you consider that humans have 3 billion base pairs of DNA, most of which are identical, but that there are at least 3 billion raised to the 4th power (4 raised to 3,000,000,000) of positions possible – a number larger than the number of particles in the Universe – you might just call DNA a highly organized but extremely complex system – seeming chaos. Is it not possible that such a complex system can be affected by very subtle shifts of light or sound, even the human voice?

The DNA Spectrum: Making Music with Biology

There are numerous scientists (not to mention thousands of years of spiritual adepts) who claim light and sound alter our DNA and directly influence our biology. DNA is a type of language, albeit a complex one. Computer simulations and a purely biological approach to understanding the language, have failed however, in the same way that language fails to describe ‘ascended states.’

Mainstream science will tell us that while DNA involves construction rules that affect different sequences, the ‘dictionary’ of DNA does not follow Zipf’s law, which every other natural language follows. So, even though DNA has structure, it is not a language. I heartily disagree. If you have ever watched a musician who was skilled in playing his or her instrument technically, to absolute perfection, but somehow lost the emotional ‘language’ which is necessary to convey an ovation-inspired performance, then you understand that stringing together a perfect phrase or sequence of notes does not account for an entirely separate and subtle language that speaks to the human heart and mind. It is the technical perfection of the right rhythms and notes paired with heart and passion which brings us to our feet. Similarly, DNA can be strung together in its typical set of A-T or C-G, but it is the junk DNA which might decide whether your cells cause you todevelop cancer or be gifted with the ability to see clairvoyantly.

Russian linguists, Dr. Pjotr Garajajev and Vladimir Poponin found that DNA does follow similar patterns and rules to human language, but this is not the most interesting information, by a long shot. In fact, biologist, Dr. David Deamer and Susan Alexjander, who holds an MA in music, have discovered that DNA makes its own beautiful music before we even try to alter it. The two measured the actual molecular vibrations of DNA and recorded it using an infrared spectrophotometer. They exposed each section of DNA to infrared light and measured the wavelength it absorbed, and therefore determined its sound frequency. What it made was ‘hauntingly beautiful’ music. “Some of the combinations of frequencies,” Alexjander said, “. . .they are just stunning. It sounds alive to me.”

Is this for real?

While interesting and inspiring, at least to the imagination, ideas of singing DNA and re-structuring DNA with intentional frequency are certainly difficult to find in practical application and are as of yet lacking legitimate scientific validation. As with Chi, the mapped out essence of life to Chinese medicine, the difficulty in finding verifiable proof and use for these theories is something that has earned this line of thinking the title of new age and pseudo-science.

Science does, however confirm that sound and light can and do directly influence the body’ healing processes. Researchers at the University of Cincinatti have had measurable success in applying high-frequency electrical signals to vascular cells with great effect in healing chronic, persistent wounds like diabetic ulcers. For decades the mystery of Royal Rife and his frequency healing machines have been touted by many as the end-all cure for a wide array of diseases, parasites, and bacterial and fungal infections. His discoveries suggest that every living organism has its own unique resonant frequency and that by subjecting the body to electrical currents that target specific pathogens, diseases and ailments can be neutralized and destroyed without pharmaceuticals or invasive procedures. Furthermore, acupuncture, the ancient Chinese system of medicine that works directly with the body’s energy conduits and has offered tangible healing benefits to millions over many centuries, has also recently been validated by scientific research.

These examples corroborate, to a degree, the ancient spiritual notion that the human body is enlivened by a subtle energetic system that can be manipulated by the application of sound, light and intention. For one to understand this on experiential terms, however, it is necessary to cultivate the sensitivity to detect and direct this energy, but for many, this process of cultivation is simply too demanding and too methodical to be assimilated as a habitual part of daily life. Most people simply do not have the patience in our fast paced environment to achieve the awareness of this, scientists included.

Shamanism Meets Science

While science is making exciting advances in understanding our quantum universe, the timeless healing modalities of shamanism have of late been forcing their way into the popular conversation about healing and spiritual development. In fact, shamanism may offer us the best example of how the use of sound and directed energy can bring about healing in the body and psyche.

In a shamanic healers toolkit, the most commonly utilized and highly prized agents of healing are often Icaros, which are Sacred songs sung by the doctor to the patient to affect health and well-being by enchanting the subtle and unseen spiritual influences that may be gripping the body and psyche. In addition to Icaros, shaman will also often employ chacapas, bundled dried leaves, as well as other musical or tuning instruments which create sounds that are influential to the body’s energetic system.

Often coupled with the use of plant medicines, shamanic practices can have powerfully positive effects on the sick, and some scientists are recognizing that the alkaloid rich medicine Ayahuasca may be able to assist in curing cancer. Eduardo E. Schenberg of the Federal University of Sao Paulo, has recently publicized research indicating that the compounds DMT and harmine, found in Ayahuasca, have “been shown to induce the death of some cancer cells and inhibit the proliferation of human carcinoma cells.”

While reductionist science is good at isolating molecular reactions, the truth is that any research on the subject of Ayahuasca is incomplete without acknowledging the beneficial presence of shamanic healers who are capable of bringing out the highest energetic potential of the effects of any chemical compounds within Ayahuasca, or any other plant medicine. Administering the compounds without the context of genuine shamanism is hollow, and lacks the full picture of the healing potential of shamanic medicines. The primary means in which shaman communicate with a patient is through their Icaros and other instruments of sound and vibration, which demonstrates their understanding that a significant part of the science of healing is working with vibration and frequency.

Conclusion

While certainly an interesting idea to muse, hard evidence that frequency and vibration can directly effect DNA and the body’s healing processes is still forthcoming, however, there is an ample body of experiential human evidence to inspire and warrant further examination of this topic.

This is not an easy theory to prove, or disprove, and the answers are unlikely to satisfy everyone. The best that we can see is that truth is relative to personal experience in some ways, and when an individual has spiritual, or cosmic experiences that do not fall within the explainable territory of rigid science, they unfortunately are left high and dry by a world paradigm that is stringently adamant on disproving mysticism.

Certainly, this is a complicated and sometimes heated topic, as we do live in a world still dominated by material science that attempts to reduce mysticism and spirituality to anomalies in brain chemistry and personality. Yet, at the same time, the human race is coming up against serious plateaus in its understanding of how to interact with the natural world, including our bodies, which means we must be willing to tangentially explore the validity of the information received through intuitive experiences.

These questions are here to stay until answered, so aren’t they worthy of a second look, with an open mind to all possibility?

from:    http://consciouslifenews.com/reprogram-dna-heal-frequency-vibration-energy/1171355/

THe Healing Nature of 432Hz

Posted on by

What is 432 Hz tuning?

A=432 Hz, known as Verdi’s ‘A’ is an alternative tuning that is mathematically consistent with the universe. Music based on 432Hz transmits beneficial healing energy, because it is a pure tone of math fundamental to nature.

The universal music of sacred geometry

According to Brain T. Collins, a musician and researcher, the standard pitch (A=440 Hz) does not harmonize on any level that corresponds to cosmic movement, rhythm, or natural vibration. The greatest musicians, such as Mozart and Verdi, based their music on the natural vibration of A=432. It’s true that it is only 8 vibrations per second different from the standard tuning, but this small difference seems to be remarkable to our human consciousness.

There’s a growing musical and metaphysical movement for recovering optimal integrity in the music industry and spirituality through the 432Hz tuning. In April 2008 Dutch journalist Richard Huisken founded the ‘back to 432 Hz’ committee, claiming that this original tuning was used in ancient cultures and is found on antique instruments like the Stradivarius violin.

The healing benefits

According to Richard Huisken, music tuned to 432 Hz is softer and brighter, giving greater clarity and is easier on the ears. Many people experience more meditative and relaxing states of body and mind when listening to such music. The natural musical pitch of the universe gives a more harmonic and pleasant sound than 440 Hz.

432 Hz seems to work at the heart chakra, “the feeling”, and therefore could have a good influence on the spiritual development of the listener. Some people who are not able to distinguish the 8hz difference claim they can feel the music warmer due to the longer wavelength.

Listen to 432Hz and enjoy living in balance

Because 432 Hz gives a greater clarity than 440 Hz, there’s less need to play it as loud as 440 Hz. This means less hearing damage, as long as you put the volume not too high. Furthermore there’s also less noise pressure. Researchers and musicians, such as Coreen Morsink (pianist and music teacher), report that they feel calmer, happier and more relaxed when playing music at 432Hz.

Music based on this natural tone is more transparent, more marked, gives an obvious musical picture and the overtones and undertones moves more freely. Music based on 440 Hz represents stuffed emotions and blocked energy. By lowering the pitch by just 8 Hz, you became more flexible and spontaneous. The 432 Hz tuning releases your energy and takes you into a beautiful state, where relaxation is natural.

Where does it come from?

According to Ananda Bosman, international researcher and musician, archaic Egyptian instruments that have been unearthed are largely tuned to A=432Hz. Ancient Greeks tuned their instruments predominantly to 432Hz. Within the archaic Greek Eleusenian Mysteries, Orpheus is the god of music, death and rebirth, and was the keeper of the Ambrosia and the music of transformation. His instruments were tuned at 432Hz.

Orpheus playing at in harmony with nature

Guiseppe Verdi, an Italian composer, placed A exactly at 432 Hz. He did this because this tuning is ideal for opera voices. Jamie Buturff, sound researcher, found out that some Tibetan monks used this tuning in their hand-made instruments. He put a CD with Tibetan singing bowls into his player and used a Korg tuner to discover that the bowls were all harmonic to the 432 music scale.

This musical tuning can be found throughout various religions and cultures of the ancient world. It seems that implementing it into the musical instruments was a good choice. Even today, many musicians report positive effects from retuning to 432 Hz, such as better audience response and a more laid-back feel to their performances.

Why the modern world forgot about this tuning

This is because in 1885 it already had been decided that A at 440 Hz had to be the standard tuning. A year earlier, Guiseppe Verdi wrote a letter addressed to the Music Commission of the Italian Government. In the letter he writes:

“Since France has adopted a standard pitch, I advised that the example should also be followed by us; and I formally requested that the orchestras of various cities of Italy, among them that of the Scala [Milan], to lower the tuning fork to conform to the standard French one. If the musical commis­sion instituted by our government believes, for mathematical exigencies, that we should reduce the 435 vibrations of French tuning fork to 432, the difference is so small, almost imper­ceptible to the ear, that I associate myself most willingly with this.” Guiseppe Verdi

Unfortunately, the great composer was unsuccessful in his attempt. The American Federation of Musicians accepted the A440 as the standard pitch in 1917. Around 1940 the United States introduced 440 Hz worldwide, and finally in 1953 it became the ISO 16-standard.

There is a theory that the change from 432Hz to 440Hz was dictated by Nazi propaganda minister, Joseph Goebbels. He used it to make people think and feel a certain manner, and to make them a prisoner of a certain consciousness. The Joseph Goebbels theory is certainly interesting, but the true reason of the shift to 440Hz is still not clearly explained.

Before 440Hz became the standard, a variety of tunings were used. The controversy over tuning still rages, with proponents of 432Hz claiming it as being more natural than the current standard. Because of that, the “back to 432Hz” committee wants to get people acquainted with its qualities, and therefore hopes that the industry will change the musician standard.

However, changing the current standard won’t be a simple task, and it’s not because of the influence of any nefarious organization. In my opinion, the reason is more trivial. Most musical instruments can be adjusted in principle, but it’s not so easy for every instrument. For example, most woodwind instruments cannot play in 432Hz because changing the pitch will also change the internal harmonic structure of the whole instrument. The change would require building new instruments.

Let the music of the spheres play inside you

432Hz unites you with the universal harmony

This musical pitch is connected to the numbers used in the construction of a variety of ancient works and sacred places, such as the Great Pyramid of Egypt. It’s also more friendly for your ears. For many people, it is nicer for hearing – softer, brighter and more beautiful than music in 440 Hz.

432Hz is based in nature and therefore it generates healthy effects among the listeners. It brings natural harmony and balance of the 3rd dimension and connects you with a higher consciousness. The pure and clean energy of 432Hz removes mental block and opens a way to a more fulfilling life.

Many ancient instruments are adjusted at 432Hz. It is because the ancients knew that this tone is closely related to the universe around us. Don’t throw away their knowledge. The universal and natural tuning of 432Hz is waiting to be discovered by you.

for more, and downloads, go to:   http://attunedvibrations.com/432hz/

On Sound & Healing

Posted on by

How Sound Affects Human Consciousness and Health

Posted by admin on June 13, 2013

The Dharma Of Sound Healing

By Diane Mandle | Sound Energy Healing

Music has always been recognized as having a powerful effect on human consciousness. But in the past few years, there has been more research into the science of sound, and how it can be used to improve our lives. We are learning why different kinds of music and sounds have the effects that they do on the body, emotions, mind, and spirit. Science tells us that all life is energy in one form or another. Further, this energy is eternal, changing and morphing from one shape or form to another. Each ‘energy shape’ has its own particular pattern of frequencies, or vibrations. When one form experiences a matching frequency in the form of a musical note, the form will begin to vibrate in sympathy with the note in sympathetic resonance. A strong enough vibration can even cause a form to restructure itself, as has been noted with cancer cells, crystal glasses, water crystals etc. With the Himalayan bowls,(also known as Tibetan Singing Bowls) every note creates sympathetic resonance with every other note producing harmonic overtones that commence the healing process. Let us, for a moment, look at the difference between healing and curing: Curing is an end product or finite result. Dictionary definitions define it as “the complete biological resolution of a diseased state” or ” the elimination of disease, distress, evil”.

Healing is a Process and infinite in nature. Some definitions include: “the making or becoming whole, the mending of a breach”, “to free from grief , troubles, evil”, ” restoring to health or soundness”; and my personal favorite by Jeanne Acheerberg “an intuitive perception of the universe and all its inhabitants as being of one fabric.” Healing is a movement from disharmony to harmony, from duality to non-duality or Divine Awareness. The journey of healing then is a spiritual awakening with consequences on our physical well being. As we awaken, our perspective shifts. As our perspective shifts, our vibration shifts. As our vibration shifts, our cellular make up shifts.

The shifts can not occur as separate entities – they affect the whole of who we are and extend infinitely. This link between body and spirit has been much ignored by the medical profession but the link is quite clear. Healing is a process where we are released from an ego centered finite perspective of ourselves in the world and move into our essence where our vibratory energy is connected with the universe. Healing can lead to being cured. But if one is simply cured on a physical level, without sufficient healing, the core issue that caused the condition in the first place is likely to manifest again. A vital step in the healing process is that of establishing resonance with the condition in question. Most people resist their condition. You cannot release that which you do not own. Sound is the train that helps us get to healing. How? We now know that different pulses stimulate different brainwave centers. We also know that we can create brainwave entrainment through a process of sympathetic resonance and that we normally entrain or fall into vibrational step to the strongest vibrations in our immediate environment.

Our body is a perfect transmitter of vibration, being 70% water Further, nerve bundles in our spine transmit vibrational sensory data to brain stem and limbic system (our emotional processing center). Placing bowls directly on the body significantly increases their effectiveness. The bowls vibrate at the frequency of perfection, otherwise known as the Sanskrit mantra AUM. They create harmonic overtones in which each note contains all other notes and none is a separate entity on its own. Their sound entrains us into health by entraining our energetic system to resonate with them in their perfection. In the universe every dissonant chord tends toward becoming a harmony.

And that’s what they help our bodies to do. The harmonic resonance of the bowls literally pulls us back into a more universal energetic flow. They effectively transmit their soothing and peaceful vibrations through our 70% water body in a way that affects our entire nervous and immune system and initiates the relaxation response bringing us into a Theta brainwave state (waking dream state that is home to creativity, inspiration, intuition and where we can let go of our ego boundaries, of our consciousness of our physical state and connect with the non-physical, non dualistic.)

The sound vibrations of the bowls balance our right and left brain and with repetition in conjunction with visualization can hold us in the Theta state for longer and longer periods of time. The vibrational sound from the Himalayan bowls initializes our parasympathetic nervous system and helps to raise the disease fighting immune cells while also reducing our stress response and creating cardio respitory synchrony (the synchronized flow of our brain, respitory and heart rate waves). Our capacity to heal from any illness is predicated on our body’s ability to achieve cardio-respitory synchrony and this is exactly what is achieved by listening to the bowls. When they are placed directly on your body, as in a private session, then the healing potential is greatly increased because you are receiving the vibrations in your muscles and organs in addition to hearing them.

In other words Vibrational Sound creates the optimum physical/spiritual container needed for healing. Dr Mitch Gaynor, Director of Oncology at the Cornel Cancer Prevention Center states: “‘Sound can redress imbalances on every level of physiologic functioning and can play a positive role in the treatment of virtually any medical disorder.Bowls are teachers: Let’s not reduce the healing that takes place only to science. We have already seen that healing is predicated on spiritual awakening. The bowls can be seen as great teachers. They carry the Buddhist Voidness teachings which purport that nothing exists independently of anything else. Each note from these sacred instruments contains all other notes and herein lies their magic. Although possessing a variety of harmonics, the fundamental vibration of each bowl is rooted in the Sanskrit mantra OM. This is the vibration that our brains entrained with. This primordial sound is the perfection of the universe. The ensuing sympathetic resonance between brain and bowls reawakens the intrinsic blissful self in us. Our attitudes, beliefs and behaviors will either engage with or sabotage the healing potential as well. Positive thinking can strengthen your immune system and change your life. The combination of the sound vibration of the bowls with positive visualization and affirmations will greatly enhance the healing experience.

– See more at: http://www.thehealersjournal.com/2013/06/13/how-sound-affects-human-consciousness-and-health/#sthash.ypLFXtIY.dpuf

528 Hz Solfeggio Frequencies

Posted on by

Forgotten In Time: The Ancient Solfeggio Frequencies
2006 01 21

From: lightwithin.com/SomaEnergetics

 


Photos by From: powerofharmony.tripod.com
 

What Are The Ancient Solfeggio Frequencies?

These original sound frequencies were apparently used in Ancient Gregorian Chants, such as the great hymn to St. John the Baptist, along with others that church authorities say were lost centuries ago. The chants and their special tones were believed to impart tremendous spiritual blessings when sung in harmony during religious masses. These powerful frequencies were rediscovered by Dr. Joseph Puleo as described in the book Healing Codes for the Biological Apocalypse by Dr. Leonard Horowitz. I give honor to both of these gentleman for the part they’ve played in helping return these lost frequencies back to humanity.

The Six Solfeggio Frequencies include:

UT – 396 Hz – Liberating Guilt and Fear
RE – 417 Hz – Undoing Situations and Facilitating Change
MI – 528 Hz – Transformation and Miracles (DNA Repair)
FA – 639 Hz – Connecting/Relationships
SOL – 741 Hz – Awakening Intuition
LA – 852 Hz – Returning to Spiritual Order

For example, the third note, frequency 528, relates to the note MI on the scale and derives from the phrase “MI-ra gestorum” in Latin meaning “miracle.” Stunningly, this is the exact frequency used by genetic biochemists to repair broken DNA – the genetic blueprint upon which life is based!

A Little History

to read more, go to:    http://www.redicecreations.com/specialreports/2006/01jan/solfeggio.html