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Music School

May 16th, 2006

“Life is a song. It has its own rhythm of harmony. It is symphony of all things which exist in major and minor keys of Polarity. It blends the discords, by opposites into harmony which unites the whole into a grand symphony of life. To learn through experience is to blend with the whole, it the object of our being here.” Dr. Randolph Stone founder of Polarity Therapy

I call learning about and resolving our personal Dissonance’s music school. Everyone is enrolled. We are all working towards our master’s degree. In this school, whether we like it or not, we must learn about Dissonance and Resonance. Fortunately, music school is a school without walls and we don’t have to pay money for our lessons unless we want to. It is a funny school in that some people pay money not to have lessons, and it always seems like lots of people are trying to “play hooky.”

Sometimes it looks like there are a lot of music school dropouts. Unfortunately for them, the law, sometimes called the “Word of God”, says that they must finish school and pass all their tests at the 100% level. The truant officers like St. Peter and Mr. Lucifer are very strict. Fortunately for us we have all the lifetimes we want to get through school. I have heard of people who have been Studying for several million years.

Sometimes our personalities do not understand they are in music school. Our personalities like to make up stories, rearrange things, and spend a lot of time looking good for other personalities. They can’t understand when things sometimes go wrong.

Personalities need to understand their problems are just Dissonance’s seeking Resonance. They have a special opportunity to learn about a new level of energy and make a quantum leap in awareness. Unfortunately when personalities are having problems they are considered a judgment of the personality. Sometimes personalities go to a professional personality person, and this really means their personality is in trouble and their neighbors better not find out!

Personalities need to be told that experiencing Dissonance is a natural state. Dissonance is beautiful. During Dissonance we are like a caterpillar becoming a butterfly. We are getting ready to transform into a new form. Instead personalities are often times told something is wrong with them. Than when other misinformed personalities hear about personality dissonances and divide the world into healthy personalities and sick personalities. With this kind of environment it’s not surprising that everybody tries to hide their Dissonance and act consonant. I call it the “Who me have Dissonance!” or the “Alfred E. Newman syndrome”.

Personalities sooner or later learn that it is impossible to hide Dissonance. Hidden Dissonance sneaks out and attracts more Dissonance. Some personalities even come to understand the old saying that what you resist will persist.

When we try to hide our Dissonance It doesn’t take long before more dissonant friends show up. They want to have Dissonance fun. When a nice person withholding anger meets another nice person withholding anger they have a good time blaming each other in a nice way. Sometimes they even forget they are nice people and blow up. Than they say “That wasn’t me.”

When Dissonance is pushed into your body it causes different organs to vibrate in dysfunctional ways. Eventually you get a physical dis-ease. Than you say “How did I catch that?”

Than one day, usually in the middle of a crisis, a voice begins to whisper and we listen.

“My dearest one you are a being of Sound composed of many tones. Your body’s shape, movements, desires, motivations, and wellness are determined by your inner concert. The source of your concert is a core of Sound beyond your wants and desires. Listen and the Sound will heal you.”

“This is Music School. Everything you know and feel is Sound. Learn to dance with your Dissonance’s. Your partners may look strange. You may feel them as anger, grief, sadness, fear, and despair. However once you listen they will transform into beautiful sounds.

“The Spiritual concert is everywhere. When you dance your body organs will make sounds and your muscles will play the correct tones. Your voice will sing praises and the stars will shine upon you.

“Use your ears…Graduation day is near.”

Planetary Songs

May 15th, 2006

The old Greek concept of sympatheia asserts that all forms and processes in the universe are in sympathetic or resonate relationships. The Stoic Hellenistic philosopher Posidonius (1st century BC) is credited with the doctrine of “cosmic sympathy” which lead to the Phyatooregan concept of a “Music of the Spheres” The Phythoregans assigned musical values to the stars and planets, then related those values to all aspects of living. These doctrines are available today in the ancient art of astrology. Astrological birth charts are a musical notation of our personal Resonance with the universe at the moment of our birth.

The recent field of “harmonic astrology” is an example. In astrology the visual relationships between planets in the night sky are called aspects. Harmonic astrology gives each aspect a sonic value based on the musical overtone or harmonic series. Tones in the harmonic series follow the simple numerical sequence of 1/1, 1/2, 2/3, 3/4, 4/5…………n. The relationships between these numbers can be assigned to tones in an auditory modality and planets in a visual-spatial modality. It would be appropriate to refer to the ratios as visual harmonics in the night sky. When the planets move into these ratios special energies are created. The closer these energies are to the source or fundamental tone ie: 1, than the more influential they are.

Lets say Venus and Saturn are within 3 deg. of each other at the time of birth. 3 deg. is the distance astrologers call an orb. An orb is another astro-sonic term for entrainment. It is the the distance at which the two planets will pull each other into a mutual oscillation. This forms the ratio of 1/1. In music this represents a fundamental tone. The fundamental is a generator of overtones and creates a strong Resonance. Therefore the qualities of Venus and Saturn are merged into one tone and this tone becomes dynamic in ones life.

If two planets, Jupiter and Mars are 180 degrees apart in the 360 degree circle of the zodiac, they form the visual ratio 180/360 = 1/2. 1/2 is the musical interval of an octave. In astrology the relationship of180 deg. is called an opposition. Viewed from an ancient harmonic perspective the octave was called diapason. Diapason, literally translated, means “through all” or “through the whole”. Viewed from a sonic perspective this relationship takes on a newer and more refreshing meaning than its traditional astrological terminology.

The next ratio 2/3 creates the musical interval of a fifth. Thie fifth traditionally represents the spirit of harmony in music. It is associated with the cosmic relationship of Yin and Yang and Shiva and Shakti. In astrology a planet at 120 deg. divided by a planet at 180 deg. is 120/180 which reduces to the ratio of 2/3. This relationship is called a trine in traditional astrology and represents harmony.

A plantet at 90º related to a planet at 120º produces the musical interval of a 4th or 3/4. In traditional astrology this is called a square and is considered a difficult aspect. The relationship between the fifth and fourth is the basis for much of the worlds music. The fifth and fourth work together like yin and yang. I imagine the negative connotation of traditional astrology concerning this aspect is based on its tendencies to be unstable and naturally wanting to seek the fifth. However it must be remembered that the fifth can easily go to the fourth. This makes for some interesting thoughts for astrologers.

Astrologers used to be occupied with observing the night sky. Charts and numbers were a method or notating their observations. One has to watch the planets every night and “feel” how they vibrate and pass through different harmonic relationships. Saturn, Jupiter, Moon, Mars, and Venus are easily observed on a clear night. I enjoy watching them from streets of Manhattan. I may be walking down Fifth Avenue (no pun intended) and look up, something New Yorkers have forgotten. And to my surprise at the end of Fifth avenue I see Jupiter in the night sky. I will stop and absorb Jupiter with my eyes. I hear Jupiter through my visual impressions. I believe my eyes are tuning into the light waves which are than being transposed inside myself to Sound Waves.

Sometimes when I come to Fifth Avenue and 33rd Street I look to my left and to my surprise I see Mars. I let my visual attention go to Mars. Than I gradually allow my awareness to encompass the feeling of Mars and Jupiter in relationship. Suddenly the concept of harmonic astrology is a real feeling inside of me. I am resonating with the source rather than a lot of lines on a chart. However on cloudy nights I can go back to the charts and get more excited because the lines suddenly take on a new meaning. They now resonate with my experience.

I believe this is what the ancient Chaldeans were able to achieve. Chaldean astronomers are said to have been keeping records on the movements of stars and planets for 490,000 years! Berosus, a Chaldean astronomer responsible for the birth of Greek astrology, settled on the island of Cos and taught there until he was a hundred and sixteen years old. The late first century B.C. Roman writer Vitruvius wrote of Berosus and the Chaldeans, “It must be allowed that we can know what effects the twelve signs, and the sun, moon and five planets, have on the course of human life, from astrology and the calculations of the Chaldeans.”

The Chaldeans did not separate themselves from the heavenly bodies in their observations. They felt the planets through sympatheia. This later lead to the hermetic axiom “as above, so below” which encapsulates the correspondence between the macrocosm and microcosm. Charles Muses believes the “crown jewel of Alexandrian through was the doctrine of the ordered interrelatedness of all things, by the power of what was then termed sympatheia. …..To render this far-reaching thought into our analytic, scientific terms requires the sophisticated concept of holistic systems governed principally by the affinities (or antipathies) generated by resonances (or anti-resonances) in waves of some sort, i.e., in time space periodicities”.

The world view at the peak of Chaldean civilization was a lot different than ours. To say they were primitive or superstitious is a great misunderstanding. Instead of expressing themselves in the calculus of numbers they choose the language of myth and symbols. What is left of their discoveries has been passed on to us through the archetypical symbols of astrology. The direct experience of being with and feeling the stars and planets, the source of so much knowledge, is reawaking today.

To experience Planetary frequencies first hand, check out BioSonic’s Planetary Tuners.

Bringing Back The Muses

May 11th, 2006

The study and practice of the arts develops within us an ability to appreciate the subtleties of sound, color, movement, touch, taste, and rhythm. Artistry makes life worth living. The spatial and visual arrangement of foods is as important as taste for the Japanese.

The flow and movement of the Chinese Martial Art Tai Chi Chaun are far more important than learning how to defeat an opponent. Tai Chi Master Ching Man Ching, perhaps the greatest martial artist of the 20th century was also a mater poet, calligrapher, painter, and doctor.

A massage with a sense of flow and rhythm becomes a special “work of art”. Without these qualities massage is a mechanical preprogrammed event.

I call this type of massage the health club rub. A doctor with a sense of timing and Resonance in his voice brings a healing “bedside manor”. Without sensitivity a doctor speaks with the quality of hospital food; processed and thrown together without sensitivity to color, taste, and smell.

A sense of personal artistry creates a necessary foundation for a scientist to do their work. Albert Einstein discovered the theory of relativity while playing his violin. Playing music led him into creative understandings of the universe which he than translated into numbers. He carried his violin with him wherever he went.

Scientists without a sense of artistry are technicians who know what will happen if they press a button. How they press the button, the process of being present to press the button, and their relationship to their environment while they press the button are unimportant.

The nourishment of artistic qualities in Athletics is important. Amy Alcott of the Ladies Professional Golf Association refers to herself as an artist when she plays golf. She talks about her training in music and painting as a necessary preparation for appreciating the subtleties of choices to be made during a round of golf. For her playing golf is like painting a picture.

As artists we are responsible for the quality and flow of our personal life. I have always had a metasense of my life as a work of art.

Beyond my daily chores, hurts, Pains and joys I am always creating dreams, intrigues, and journeys. As long as I have this awareness I can enjoy life and remain healthy. When I loose track of the creativity and art in my life I sense myself as sleep walking through a cold, mechanized, and uncaring world.

Journeying beyond our personality we discover multi-directional multi-dimensional energy swirls, whirlpools, dips, slides, rises, drifting and flowing; returning, pushing, and simultaneously pulling us into a gateway of pulsating space bounded by sensitive thoughts.

Full of floating emotions expanding outwards through permeable layers of visions bursting into reds, oranges, yellows, greens, blues, indigos and violets that swirl, slide, dip, rise, flow into multi directional multi dimensional movements that softly bring us back to our personality and whisper: Remember the art and joy of being alive.

Sound Heals

May 10th, 2006

Researchers throughout the world are reporting intriguing new ways about how sound vibration heals the body, mind, spirit and the environment. The words people choose to speak and the music people listen to have profound power to decrease pain, draw people out of emotional and mental isolation and even clear polluted water.

And scientists are discovering that certain deep space sounds are amazingly similar to the sounds of dolphins, Tibetan bowls and human choirs.

Why Is this Important to You?

Because you can use music, song, vibration and words to dramatically affect your own health and the well-being of other people. The impact, potential and mystery of the healing power of sound is demonstrated in the following heart-warming true stories.

Wake Up and Dance, Little Suzy

Do you remember the movie ?Awakenings?? Based on a true story, the film features the work of neurologist Dr. Oliver Sacks with Parkinson?s disease patients. Many of these patients whose bodies had been immobile for decades from the effects of Parkinson?s began groovin? to the sounds of music. Patients who had not left their wheelchairs for years, got up and began dancing to certain types of music.

After the success of these patients, Sacks, teamed up with the music director from the Institute for Physical and Neurologic Function and has been using music as therapy with miraculous results. According to the music director, patients who can?t walk “bound out of their chairs and start dancing as long as the music is present. For people who have motor problems, music acts as a catalyst.”

Potent Prayer Power

When a Buddhist priest prayed for an hour over the polluted water in a lake behind a dam in Japan, the crystalline structure of the water changed from malformed and distorted to one of immense Beauty and power. The lake was transformed into a healthy source of pure water. A distinctly visible aura appeared around the water Crystals in photographs.

Autistic Man “Flew the Coop”

A music therapy instructor from Yale University tells a breakthrough story about Jerry, a 26-year-old man who wouldn?t speak, whose mental age was between 2 and 8 and who threw extremely self-destructive tantrums. Jerry was so transformed by music therapy that he was able to free himself from his “Autistic mold” and create a way to support himself in the world. What?d he do?

Pairing up with a graphic designer, Jerry launches a profitable greeting card company. Jerry writes many of the messages and helps design the cards. Aptly, they name the company “Flew the Coop.”

Trippy Space Sounds

What do the sounds of dolphins, human choirs and Tibetan bowls* have in common? The sounds they make are uncannily similar to tones found in outer space.

While examining the recordings of spacecrafts Voyager I and II at the California Institute for Human Science, scientists discover that sounds produced by the rings of Uranus are virtually identical to those produced by Tibetan bowls. Sounds emitted by the planet Jupiter strongly compare to the high-pitched cries of dolphins. And sounds from the smallest moon of Uranus resemble vocal choirs.

Researchers believe that this similarity is no coincidence. The cosmic vibrations of dolphins, bowls and choirs are currently being used to stimulate alignment and healing at the cellular level.

“Tibetan bowls” are used in The Dream Workshops to assist people to Relax plus the bowl?s vibration gently helps “break up” old patterns of behavior that are no longer useful or healthy.

Rockabye Baby

Hospitals report that newborns who are sung or spoken to on a regular basis go home 3-5 days earlier and weigh more than babies who aren?t exposed to specific periods of adult speech or song. 50% of women who listen to music during childbirth don?t need anesthesia.

We are only hearing the first few bars in the symphony of healing that awaits humanity as we open to the dynamic harmonious effects of sound.

About the author

Keith Varnum - For similar inspirational articles, visit The Dream Workshops.

Toning and Using Tuning Forks

May 9th, 2006

There are several ways to tone your tuning forks:

  1. for the softest sound, tap Tuning Forks on a hard muscle such as the thigh near the knee or the firmest part of the palm of your hand
  2. for a slightly louder sound, tap Tuning Forks individually or in pairs, or tap on the Tuning Fork Activator
  3. for a loud sound, tap gently on your knee cap
  4. for the loudest sound, very gently tap two Tuning Forks against each other or tap a single fork on the edge of a hard surface such as a table. Be careful not to nick them.

Ways to use Tuning Forks

Tone a single fork or two forks together to create a harmonic and either hold or move above the body or place stem end on:

  • any tissue of the body such as bones, organs and muscles
  • acupuncture points or meridian energy lines (known as Soundpuncture)
  • reflex zones of feet, hands, ears or head
  • chakras or transition points between chakras, front or back
  • a crystal as you direct the crystal toward the recipient
  • any vessel containing flower essences, gem elixers, homeopathics, purified water, or any vibrational remedy
  • planetary acupuncture points at various locations on planet Earth
  • sweep through the subtle layers of energy field
  • stroke meridians
  • when toning two forks together, you can use to balance left/right, top/bottom, or front/back of the body
  • move through a room to fill a space with a particular frequency
  • move all around a person to clear discordant energies and fill their aura with a particular frequency


May 8th, 2006

Learning to identify, understand and honor Dissonance leads to new levels of living and wellness. Dissonance means without sonic alignment or to “beat against”. Our first reactions to dissonances, weather in music or life, are to label them undesirable and something to be avoided. When Igor Stravinsky premiered The Rite of Spring many listeners rioted. They cited the horrible dissonances in the music as the cause. A group of doctors tried to sue Stravinsky for damaging peoples ears. Today many find the dissonances in The Rite of Spring to be harmonies.

During the Middle Ages the Catholic church determined what musical tones and intervals were spiritual. New musical sounds were usually introduced through heresy and thought to be the work of the devil. As hard as it is to believe, many people were executed and tortured for playing the “wrong note”.

Go to the piano keyboard and play C and G than play the octave of C and C. If you lived in the Dark Ages you may be on your way to being a music star. Now play C and C followed by C and F#. Uh-oh! You made a fatal mistake. You are now on your way to being burned at the stake or worse. C and F# were considered to be the interval of the devil.

Our life experiences of Dissonance vary greatly. A commonly used word for Dissonance is Stress. Dr. Hans Selye defines Stress as adaptation to change. Those that resist change will perceive Stress as distress. Those that accept change may experience the same Stress as euphoria or U-Stress. In other words what is distress for one person may be euphoria for another. This may explain from a scientific perspective why the dissonances of a music composition like Stravinskys Rite of Spring may be terrible for one person and beautiful for another.

The process of a child learning to swing illustrates the principle of Dissonance as a necessary component of acquiring a new skill. The child learns to pull on the swing at just the right time through hundreds of misses. Because missed pulls are out of alignment with the desired feeling of swinging they are perceived by the child as frustrating. “How can I learn to swing if I keep pulling and nothing happens!’

Eventually through watching other children, getting hands on help from parents, and achieving many mini successes the child begins to internalize a “right feeling” of swinging. The misses contrasted to the “right feeling” may ironically lead to increasing states of Dissonance. When we have no idea of the right way the wrong way is acceptable. When we experience the right way the wrong way seems even more dissonant.

One day something happens, a right movement, an “accident”, or somebody says something that “makes sense” and suddenly the child knows how to swing. They can pull on the swing again and again at just the right moment. From this moment on the child knows how to swing for the rest of their life.

The Nobel Prize winning physics, Dr. Ilya Prigogine discovered the importance of Dissonance while investigating chemical systems. He termed his discoveries “order from chaos”. Prigogine proved that for a system to change and go into a higher state of functioning it must first pass through a state of disruption or chaos. The sonic term for chaos is Dissonance.

Prigogine points out the crucial role Dissonance plays in living systems evolving into higher levels of order or Resonance. He discovered that all living systems dissipate more and more energy over time caused by fluctuations or dissonances inherent within the system. As time passes these dissonances increase in intensity causing the system to move further and further from equilibrium. Soon everything begins to wobble. The wobbling increases until all preexisting order within the system shatters causing the system to leap into chaos.

Prigogine terms the precise moment a system goes from order to chaos a bifurcation point. As a system approaches bifurcation it only takes a very small and seemingly inconsequential event to create chaos. From chaos the system reorganizes itself into a new system functioning at a higher-level Resonance.

Whether the Resonance is a higher or lower level than the original system is determined by what mathematicians call “strange attractors”. Strange attractors can be visualized as seeds of the new order sown during the old order. For example, a child learning to swing builds attractors through mini successes, modeling other children, and positive encouragement. When the old order disintegrates the new order reforms around the vibration of these experiences.

We must learn to listen to and appreciate Dissonance in our life. For example, an alarm clock is dissonant for our sleeping self. However for our waking self the alarm clock is a sound we created to remind us to wake up. Oftentimes we forget that our waking self set the alarm. The alarm annoys us. Weget angry. Maybe we throw our alarm clock across the room. When we surrender to the message we awake and remember. “Today I got up early to begin my vacation.” Thank goodness for that alarm or I would have missed my plane.

From a BioSonic perspective the experiences of Dissonance are our inner alarm system. When an alarm goes off something is going to change weather we think we are going to like it or not. The more we resist alarms the more the intensity of Dissonance increases in our life.

We must learn to appreciate Dissonance and actively listen to our inner alarms. The following “Dissonance ear training”, is to help us tune into our alarms and wake up. Each volume level is like an alarm clock getting louder and louder. We are free to wake up at any volume.

Dissonance Level 1: “Not Quite Right Feeling”

We recognize a vague feeling of discomfort or inner voice whispers a warning. Often times our body slightly tightens. Sometimes we may perceive a subtle feeling of pulling away. The intensity of the alarm is low enough to easily overlook or dismiss. It is the kind of message that we recognize in hindsight and say “I should have listened,” or “I had a feeling”.

Dissonance Level 2: Minor Problem

We have progressed beyond the not quiet right feeling and can consciously, if only for a moment, identify the source of irritation. A friend or relative doesn’t clean up after themselves in the house and we don’t say anything. It is even uncomfortable for us to do their cleaning, however it is a small problem and the discomfort soon leaves. Often times we will tell ourselves a story: “It is OK, they will be leaving in a few days. He is such a good person it is worth it to do these things for him just to have him here. “Although we may even come to believe our stories, which in psychological terms is the beginning of denial, our bodies always tighten when faced with a minor problem.

Dissonance Level 3: Major Problem

The source of irritation is clear and in our consciousness for long periods of time. It is increasingly difficult to tell ourselves stories. We know something is wrong and that there is a problem. The person went from occasionally throwing something on the floor to everyday leaving papers, tracking in dirt, overstaying their welcome, and playing the stereo late at night. Even our neighbors are complaining.

However it is still possible to somehow put off our problem. We tell ourselves more stories: “If I am nicer, maybe the person will go away. It’s not his or her fault, they had a hard childhood. Maybe their behavior has something to do with me.” At this level of Dissonance everyone knows we have a problem except us. When we finally do something about it everyone is relieved. When we keep denying, then the problem goes to a higher level of Dissonance.

Dissonance Level 4: Crisis

The Dissonance is loud and screeching. We can’t get away from it. Everywhere we go it is with us. Our whole universe seems to be shaking and falling apart. In psychotherapeutic language we are “bottoming out” and there is no place left to go but up. We have to face the Dissonance. Many people tell stories of reaching the bottom and finding a new life.

I learned a long time ago not to judge people at the bottom. While working at Bellevue psychiatric hospital I was called as a therapist to a flop house on the Bowery. We were trying to extend our services into the community and help people before they reached hospitalization stage. On this occasion, I walked into a small dirty room that smelled of human waste with cockroaches running from wall to wall. In the room there was a man covered with spit laying on a dirty bed. A priest sitting next to him preparing to give last rites. I was discussed that I should be called to such a place and angry with this man for letting his life depreciate to such a low level.

For some reason I stayed. As the priest gave the last rites, the man on the bed opened his eyes and said “I see Jesus.” Suddenly he began to glow. I actually felt the vibration in the room increase. As I looked at this dying man he suddenly became soft and radiant. I could feel his energy enveloping the room. I felt as though I was blessed and showered with grace.

All of this lasted just a few minutes by the clock and an eternity from my inner time perspective. When he exhaled his last breath, this filthy disgusting drunk had transformed into one of the most important spiritual teachers of my life. He taught me that a crisis can be an opportunity for extraordinary growth and that I should be very humble in my judgments of other people’s life Dissonance.

Jacobs Ladder

The ancient story of Jacob’s Ladder illustrates the mythological relationship between Dissonance and order. Jacob’s Ladder is an archetypical ladder between heaven and earth. We begin as spiritual beings at the top of the ladder and descend until we become earthly beings at the bottom of the ladder. Our spiritual journey begins when we choose to climb back up the ladder. Each rung upwards represents increasing states of energy and consciousness.

The transitions from one rung to another on Jacob’s ladder are different than a regular ladder. The rungs are in discontinuous steps. This means distance between each rung becomes greater and greater the further we go up the ladder.

Climbing Jacob’s Ladder requires a special climbing skill which is sometimes referred to as quantum leaping. We are at one level of vibration or rung on the ladder then suddenly we are at another. We literally leap from one rung something like excited electrons jumping from one orbit to another and changing the nature of an atom.

The myth of Jacob’s Ladder is very real in our everyday life. The process of moving into different states of energy begins with Dissonance. During Dissonance our life becomes challenged. The more we deny our challenge the greater our Dissonance becomes. There are no solutions on our current rung of the ladder. We must seek change and seek resolutions from a higher perspective.

I have come to believe the man I worked with on the Bowery was on very high rung of the ladder. He resisted the jump to the next rung until the last moment. During his last rights he surrendered to whatever internal Dissonance he had been avoiding. He made what appeared to be an inconceivable leap. His gift was to show me that at any moment Dissonance may transform into a new and higher state of Resonance.

New Music, New Sound

May 7th, 2006

The healing arts, like the musical arts, are undergoing a revolution. Just as there is a new music, there is a new healing. Speaking of the new healing, Dr. Larry Dossey states:

“…The spacetime view of healing and disease tells us that a vital part of the goal of every therapist is to help the client toward a reordering of his world view. We must help him realize that he is a process in spacetime, not an isolated entity who is fragmented from the world of the healthy and who is adrift in flowing time, moving slowly toward extermination. To the extent that we accomplish this task, we are healers.”(1)

For the new healers, the accomplishment of this task is through consciousness. In traditional medicine the Focus of health care is on the physical body. Consciousness is no longer accepted.

“Everything is alive. There is nothing in principle, therefore, preventing the use of consciousness as a primary form of therapeutic intervention at all levels of matter - from the subatomic particles through molecules, cells, tissues, organ systems, etc.”(2)

The assumption of this article is that new music is opening the doors to a new way of being - that the experience of listening to new music can alter our world view and change our consciousness and thereby transmute our physical. And furthermore, that this transmutation is necessary for our next step in evolution, as well as living completely in our current reality.

Defining new music is elusive because the listener is the music. When the listener is “in self” and willing to go everywhere, without hesitation, totally involves and multi-dimensional without regard to any preconceived form (including his physical body) then it would be fair to say that all music is new music.

New music by way of the composer, composition, and performance challenges the listener to maintain his sense of self while being involved in a nonlinear multi-dimensional event.

New music is teaching and preparing us for a universe described by Einstein as “an aggregate of non-simultaneous and only partially overlapping transformational events.” John Cage expresses it this way in his Experimental Music Doctrine:

“Urgent, unique, uninformed about history and theory, beyond the imagination, central to a sphere without surface, becoming is unimpeded energetically broadcast. There is no escape from its action. It does not exist as one of a series of discrete steps, but as a transmission in all directions from the field’s center. It is inextricably synchronous with all other sounds, not-sound, which latter, received by other sets that the ear, operate in the same manner.”(3)

Entering new music with our ears - listening - we seek harmony. Not harmony in the tonal sense, but harmony in the original meaning of the word, “to fit together.” We learn to let ourselves fit with and resonate with the sounds. Dissonance means not fitting. Dissonance is an inability to be flexible. It is the root of all disease. The physicist David Bohm speaks of health as the essence of nonobstructed, indivisible, flowing movement of the self’s internal harmony transcribed into the external world. When the internal and external are at odds with each other - dissonant - the result is disease or a break in harmony. In tonal music the appreciator sought the fundamental in the music as a metaphor of spiritual unity, the ending of a journey. In new music one seeks the fundamental in one’s self; the return to the fundamental is anywhere, anytime, and any direction, because the fundamental is everywhere and here.

“Location and times - what is it in me that meets them all, whenever and wherever, and makes me at home? (Walt Whitman, Leaves of Grass)

“Wherever we are, whatever we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at fifty miles per hour. Static between the stations. Rain.”(4)

This is perhaps the most challenging aspect of new music, that the listener must not only appreciate the sound but give him or herself to the sound. John Cage says that sound:

“…does not view itself as thought, as ought, as needed another sound for its elucidation, as etc.; it has no time for any consideration - it is occupied with the performance of its characteristics: before it has died away it must have made perfectly exact its frequency, its loudness, its length, its overtone structure, the precise morphology of these and of itself.”(5)

Webster’s defines healing as “to make sound” It might be more accurate if we were to say “to become sound.”

Look around! We live in the age of the “nuclear concert,” the sound of which will instantly transmute us into light. Are we prepared to listen?’ I am using nuclear weapons as a very real metaphor for the challenge that faces each of us. This challenge is not so much to do away with the nuclear weapons but to transform ourselves to a level of being equivalent to the power of nuclear reality. Our current form, both physical and mental, is inadequate to understand or even cope with the awesomeness around us. We have to incubate a new form, perhaps a formless reforming form. For new music composers, structuring the formless is the challenge of our time. To create a disappearing structure which captivates the mind to witness beyond itself; to be with the unknown, to merge with the unknown, to become the unknown. We must be willing to face our own death in order to live in a new way.

Along the same lines, Stockhausen has said that he is writing music, not for the apocalypse, but for the post-apocalypse, for the time of reintegration when people would have to be picking up the pieces. Speaking of his composition “Hymmen” as a physical-psychic therapy he talks of catastrophes to come and their relationship to increased consciousness. He sees his music as being on the other side of death, on the other side of these coming catastrophes.

“Well, I hear it this way. You see, becoming conscious is already being on the other side. You see clearly where we are up to and then death isn’t frightening any more. Also a collective death is large groups. Because you feel that our destiny is a universal destiny and not only a terrestrial one…” (6)

New healing views matter as consciousness; therefore the assumption that our physical bodies are solid material which eventually decays and dies is no longer valid.

“All matter belongs to the implicate (internal) order where everything is alive. What we call death is an abstractions.”

Healing is not always comfortable. New-music composers have been severely and unjustly criticized by the traditional medical establishment as well as tonal-classicists. David Tame in his book “The Secret Power of Music - The Transformation of Self and Society Through Musical Energy” devotes a whole chapter to criticizing new music composers for their lack of consciousness:

“Would the reader allow me here to offer an opinion? No proof, no scientific discussion about the pros and cons of the conviction if I find myself with - just a simple gut reaction; that there is something distinctly dangerous to the consciousness in such music (new music) as this. Dangerous in perhaps surprisingly tangible and immediate ways. It is as though there exists a chasm within each of these compositions: a dark, yawning crevasse which, if we allow it to , will gladly swallow up whatever portion of our mind we offer it by the directing of our attention towards it.” (8)

Tame is essentially a man unwilling to change, to let go of his form. A man who does not realize that the very music that he dislikes is challenging him to grow - to become a new person. His is uncomfortable with his music, so he therefore assumes that it has a negative effect on individuals and societies. He wants to go back to a time before the bomb, he wants to “melt” listening to Beethoven. He wants to be spared the pain of transformation. He wants to remain unconscious. Is he that different from you and me?

New music is not a passive experience; it is a way of being. In the words of Boulez:

“Nothing is based on the ‘masterpiece,’ on the closed cycle, on passive contemplation, on purely aesthetic enjoyment. Music is a way of being in the world, it becomes an integral part of existence, is inseparably connected with it; it is an ethical category, no longer merely an aesthetic one.”(9)

In summary, new music is bringing forth necessary changes in our self on both physical and mental levels to be able to live harmoniously in our times and in times to come. We need to listen to and be in touch with the music of our times. New-music composers and musicians need to serve in a very in a very humble way. The days of Beethoven-like power are over. We have to work for and campaign for our audiences - not just for ourselves but for our fellow composers and ultimately for the transformation necessary for a leap in evolution.

A new world is only a new mind!

(William Carlos Williams)



  1. Larry Dossy, Space Time and Medicine (Shamabhala Press 1982) p. 75
  2. Ibid, p. 29
  3. John Cage, Silence (MIT Press, 1971), p. 34
  4. Ibid, p. 40
  5. Ibid, p. 41
  6. Johathan Cott, Stockhause: Conversations with the Composer (Simon and Schuster, 1973) p. 77
  7. Larry Dossy, Space Time and Medicine (Shamabhala Press 1982) p. 90
  8. David Tame, The Secret Poser of Music - The Transformation of Self and Society Through Musical Energy (Destiny Books, 1984) p. 56
  9. Michael Nymann, Experimental Music - Cage and Beyond ( Schirmer Books, 1974), p. 23

Solar Harmonic Spectrum Protocols

May 6th, 2006

The theory and practice of Tuning Forks in Sound Therapy is explained and demonstrated in the video Sound Healing With Tuning Forks and in the book Music And Sound In The Healing Arts.


Cross the Tuning Forks on each interval of the mediation. For example if C is held in the left ear and G in the right ear then on the next tap hold C in the right ear and F in the left ear. The crossing pattern continues throughout the Meditation. If you want to extend the Meditation then cross each interval i.e., C in the left ear and G in the right ear then C in the right ear and G in the left ear.

Meditation #1: General Balance and Wellbeing

5th C G 4th C F 6th C A 5th C G 5th C G

Meditation #2: Motivation

5th C G 3rd C E 6th C A 5th C G 3rd C E

Meditation #3: Creativity

5th C G 7th C B 2nd C D 6th C A 5th C G

Meditation #4: Spiritual Awakening

Unison C128 C128 (or hum low drone tone) 6th C A 6th C A Octave C C512

Meditation #5: General Element Balancing

Unison C128 C128 (or hum low drone tone) 2nd C D 7th C B 3rd C E 6th C A 4th C F 5th C G Octave C C512

Meditation #6: Grounding and Earth Balance

Unison C128 C128 (or hum low drone tone) 4th C F 4th C F Unison C128 C128

Meditation #7: Water Balance

6th C A 7th C B 2nd C D 5th C G

Meditation #8: Fire Balance

3rd C E 6th C A 2nd C G 5th C A

Medtiation #9: Air Balance

5th C G 4th C F 3rd C E 5th C F

Meditation #10: Ether Balance

5th C G Octave C C512 5th C G Octave C C512

Basic Element / Interval Relationships

Element Quality / Interval / Color

Ether / C - C512 / Blue Earth / C & C* / Red Air / Stimulating and Rising C-G / Blue Green Air / Calming and Decending C-F / Blue Fire / Stimulating and Rising C-A / Yellow Orange Fire / Calming and Descending C-E / Yellow Water / Stimulating and Rising C-B / Red Orange Water / Calming and Descending C-D / Orange * Usually two 128 Ottos or low drone humming.

Pythagorean Music of the Spheres Relationships

Circle of the Zodiac / C - C512

Sun / C - G Earth / C - F Moon / C - D Mercury / D - F Venus / C - E Mars / C - A Jupiter / D - B Saturn / C - B

Match Letters to make planetary intervals.

Note: Unless indicated all C’s refer to C(256).


May 5th, 2006

It don’t mean a thing if you ain’t got that swing. —Duke Ellington

Resonance comes from the Latin verb resonare, meaning to “return to sound”. It means to sound and resound, as in an echo. Usually we think of Resonance in terms of objects such as bells which when struck continue to ring or resonate the original sound. Another type of Resonance is called sympathetic Resonance. When we strike a Tuning Fork another Tuning Fork of the same pitch will begin to vibrate with the first fork. Resonance can be understood as a merging created when energy moves back and forth between two or more bodies.

The opposite of Resonance is Dissonance. Dissonance happens when energy moves back and forth between two or more bodies without merging into unified pulsation. The pulses beat against on another. Resolution happens when Dissonance becomes Resonance. Our personal sensations of Dissonance, resolution, and Resonance in our daily life serve as sonic guides. Learning to listen to, differentiate, and appreciate these sensations in daily life is fundamental to BioSonic RepatterningTM.

When we meet somebody special or do something just right, we experience Resonance. The longer lasting and deeper the experience of Resonance, the more ecstatic we become. Our language is filled with words that ring with the taste of Resonance. “Being in tune” or “we are on the same wave length” describe resonant experiences. Making the connection, being in the groove, or just plain “wow!” are further examples. When something is just right we say “it clicks.”

Imagine that the whole universe; everything we know, including cars, computers, airplanes, houses, buildings, lakes, oceans, continents, our bones, flesh, and nerves is a fountain of dream images generated and sustained by a submerged sound. Further imagine that everything we do and think, whether good or bad, moral or immoral, is an attempt to seek out and merge with that sound. Our goal is to return to the source of the fountain. Although we may identify with the object of value (i.e., a man or woman, a car, etc.), the real attraction is the Resonance we experience when in the presence of that person or thing. The experience vibrates us like a Tuning Fork and becomes a sonic homing buoy confirming our inner journey.

As children our playfulness leads us from one resonate experience to another. Teeter totters, swings, kites grabbing the wind at the right moment, catching or hitting a baseball, riding a Bike, skipping a rock, and bonding with a doll or stuffed animal are the abundance of a child’s world. Children soon learn the value of pushing forward of leaning backward on a swing. They will try again and again until they get the “right feeling” of the swing. This is a moment when the thrust of the pump harmonizes exactly with the natural rhythm of the swing. They don’t need classes or intellectual reasons, for their sense of Resonance, which they somehow “just know,” become both their guide and goal.

Pretend that you are an ethereal being floating in drifting currents of flight. One day, as days go in light oceans, you begin to hear special sounds. When you float nearer there is a feeling of glowing radiance. There are two sounds and they are beginning to merge. Your light body begins to pulsate. Surrendering to the sounds you enter an ecstatic state of Resonance.

When we arrive in our new bodies, we immediately seek Resonance. A baby bonds with its mother and father. Watching a newborn baby and mother together is a wonderful experience. Their bodies are like Tuning Forks that vibrate in unison. I remember the indescribable feeling of the birth of my son. I am in the delivery room surrendering to the rhythm of labor. Push after push I breath in unison with my wife as my son pulsates his way into the world.

In the “new” quantum physics matter is perceived as resonate particles. Particles are created when electrons and protons are accelerated to near the speed of light. Collisions create a burst of energy in which a particle takes form. The energy of the collision keeps resonating or feeding back into itself, like a bell that is struck and continues to ring.

In the universe of particle physics, matter is simultaneously a particle and a wave. Because it is a wave, each particle is also a specific frequency or vibration. Therefore, in the subatomic world the way something vibrates determines what it is. Remember that not every collision creates a particle; only the collisions that resonate create particles. Physicists who explore the sub-atomic world for particles call what they are doing “Resonance hunting.”

The physicist Werner Heisenberg borrowed two words from Aristotle—potential and actuality to describe his experience of the quantum reality. The world “not looked at” was potential. For Heisenberg, the quantum wave was a picture of the unexamined potential of reality. Quantum waves are not existence or actuality, but the tendencies towards existence. The parallels between “musical experience” and the sub atomic reality are remarkably similar. Physicists seem to rely mostly on numbers and instrumentation to “see” and map Resonance. An artist relies on his or her senses and intuitions.

Communication is a Resonance between two or more people. Cognitive Resonance occurs when someone talks about an idea or concept that we agree with. Politicians always speak in generalities to heighten their chances for cognitive Resonance with potential voters. Emotionally we speak of affective Resonance. It is the source of the terms sympathy, antipathy, empathy, telepathy, and apathy. When we pick up emotional states and feelings from another person, we say we are sympathetic. The person with the feelings is like a Tuning Fork setting off similar feelings in another person. If the other person is opposed to the feelings, then they resist and become dissonant or without Resonance. This is antipathy. Empathy means “into feeling.” It is a state of merging with another. We allow ourselves to resonate with the vibratory field of the other until we are the other.

The ideal is to remain conscious of our self during the empathetic response. Conscious empathy is the foundation of healing arts and the key for understanding another persons experience. When we are empathic, distance as we know it ceases to exist. We are both in the same resonate field. It is therefore possible to experience the other at great distances. This is the telepathic response or feeling response at a distance. Apathy means no feeling. When one is apathetic there is no Resonance.

Resonate communication on a spiritual level is called communion. Although health professionals are trained to Focus their attention on mental, emotional or physical processes during empathic response with their clients, they often report a special communion between themselves and the other.

Faith healers by pass these levels and Focus only on the spiritual. They lay their hands on the body and allow themselves to empathetically resonate wherever spirit leads them. The resulting interaction between the person and healer becomes a divine communion. A resonate “returning to sound” creates a healing response. In this sense, regardless of academic training or analytical understanding, we all must become faith healers for our insights and studies to be effective.

I remember a story told by Elizabeth Kubler Ross. She was in charge of training psychiatrists to counsel dying people. The young doctors knew a lot about the psychodynamics of dying as well as the physical condition of the patients. However, Kubler Ross noticed that when the doctors left the room, the dying person was quite often agitated and upset.

One day she noticed that when the cleaning lady left the patient’s rooms they were at peace with themselves, Breathing easier, and more open to talking. She asked the cleaning lady what she was doing. The cleaning lady, who hadn’t even graduated from grade school, said she had experienced a lot of death in her family. She said she just “felt” for the people and would just sit with them a moment while she cleaned up. Kubler Ross realized that her ability to “just sit” and be with a dying person was what the doctors lacked. To the dismay of her colleagues, she made the cleaning lady her assistant instructor.

The experience of empathetic Resonance through touching has been given many names by body workers. Dr. John Upledger calls it “melding” and sees it as the prerequisite of all good bodywork. “The idea is to meld the palpating part of your body with the body you are examining. As this melding occurs, the palpating part of your body does what the patient’s body is doing. It becomes synchronized. The objective is to have that part of your body which is examining and palpating a patient do exactly what the patient’s body is doing, and would otherwise be doing even if you weren’t there. ” Milton Tragger uses the term “hook-up.” Dr. Randolph Stone, the founder of Polarity Therapy, called it “tuning into the energy.”

The synchronization of bodies is traditionally called “achieving rapport” in verbal counseling. In Neuro Linguistic Programming it is called “pacing.” Without pacing there can be no communication. The research of Dr. William Condon uses microanalysis of filmed human interaction to reveal precise synchronization of rhythmic body movements between two people interacting. This synchrony is invisible to eye and unconscious to the participants.

Dr. Milton Erickson considered it a necessity to “get into a patients reality.” He would sometimes spend years understanding and piecing together a patient’s view of the world, body movements, and speech patterns. The psychiatrist R. D. Laing illustrates the principle of “getting into a patients reality” in his description of a “Schizophrenic Voyage.” Laing will spend days with a patient, to the point of even living in a closet with them to experience Resonance with their reality.

The resonant experience of love is so powerful that we sometimes feel as though we would do anything not to lose it. First there is Resonance.

In her eyes I perceive myself as mysterious, unknown, exciting and vibrant. She is the lover that awakens my heart and each throb is a revelation, a vision, and a dream that becomes a remembrance of who I am. She is the embodiment of the sweetest elixir. We drink and meld until the other disappears into the mists and is devoured by the force of union.

The experience is so magnificent that we want it to happen forever. However the moment we try to keep the experience, the feeling is gone. The same person that we fell in love with is suddenly different. It is as though we reached out and put the palm of our hand an a ringing bell in an effort to keep it ringing forever. We are shocked when the quality of the ringing diminishes. To make things worse we grab the bell even tighter and sometimes even hit it to get to ring again. Eventually we give up. We cannot sustain this “grabbing energy.” We say the “life is out of the relationship” or “the thrill is gone.”

During a session, a client described his relationship with his wife as “the ring is gone.” He had done everything to get it back. And it became clear from the tone of his voice that “everything” meant every possible way of grabbing and holding onto her. Resonance, or the ringing bell quality of a relationship is only nourished through surrender. This implies giving up the other in order to have the other. It seems like a paradox. Experienced from sonic consciousness it becomes very real.

Everyone wants Resonance. Regardless of our behaviors, relationships, occupations, looks, cultures, lifestyles, and tastes we are listening for Resonance. When each experience of Resonance we move closer to our source. The closer we come to our source the more we are “beings of sound mind and body.” Resonance is everywhere and always available to us. Everyone has a front row seat in the cosmic concert.

Bija Mantra Meditations and Chants

May 4th, 2006

The theory and art of using bija mantras is taught in the Bija Mantras Of The Spinal Chakras instructional video and in the book Music And Sound In The Healing Arts.

Balancing Earth with Air (For Clarity of Thought) Meditation: a (ah) cham sha

Chant: a (ah) cham sha ai ba jam jam sa (shaw) tham s (sh) va

Increasing Fire, Reducing Air, and Warming Water (For Digestion) Meditation: j tha ra

Chant: c(ch) da(day) jam ta ta la pha s(ss) na(nay) r na ta na pa ma jam pha ya

Expanding Ether (For Loss and Grieving) Meditation for quality space i e s (ss)

Meditation e sa e sa m

Chant ai ai u (uh) c(ch) a (ah) ai ai u c a ai ai u c a na va na va m (om) i j i j m (om) e—————-m

Balancing Earth and Fire (For Inner Warmth and Calm) Meditation e da e da va sah

Chant h da na va e sa e sa ta pha nam DHA (dhay) sha va e sha va e sha va pha kam DHA sa s va s va

Balancing Earth (For Grounding) Meditation e sah va

Chant h sah e va sa(shaw) la sa na e va e va sa(shaw) ai sa (shaw) sa (say) m sha va

Balancing Ether, Fire, and Water (For Creative Dreaming) Meditation a (ah) ta ma s (ss)

Chant s (ss) s (ss) e j ta DHA (dhay) ta DHA (dhay) na la e sha la da bha jam jham s (ss) s (ss) pa ya la ya la m (om) nam (am) ra tha

Balancing Water and Fire (For Balanced Sexuality) Mediation j na (nay) ba

Chant r da ma da ma da ma e ta la ta la ta la ta la pa sa jham da(day) ya da(day) ya s(ss) pa s(ss) pa s(ss) pa u(uh) ma la sa(say) pa e ta e ta la ra s(ss) dah m(om)————

Balancing Fire with Air (For Motivation and Healing Ulcerations) Meditation au kam da (day)

Chant da DHA (dhay) s (sh) da dah s cham cham cham h ta r tham h ta r jam h ta r nam pa sa pa va e tham da

Balancing Air and Water (Spritiual Awakening) Meditation o tham ya

Chant i kam cham jam tam la e bha i cham va ta cham jam tam ma u kam s ya ya gham cam

Balancing Air (To Slow Down Rapid Thinking & Reduction of Joint Pain) Meditation h gam jham

Chant e jham e jham na e tam jam gham ajham e jham pa

ai sa va kam e nam sa jham

e jham ejham s(sh)

Balancing Earth (For Shock) Meditation ai na va

Chant e sa(say) va cham la va o DHA e sa(shaw) ma la s(sh) sa(say) pa cham sah va sa (shaw) va sa (shaw) v

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