Changing gears a bit

In lieu of the planned "Why Can't Johnny Think" post, I decided to throw out a piece from my Book of Shadows. There was a program on DCIX Radio about Resonance and the relation to possible inter-dimensional travel. While I'm no expert on that aspect, I did find this older writing that may help some to attain some insight on the subject. So, without further ado, I present:

Harmonic Resonance of the Soul

The Question of Harmonic Resonance within the soul? I have seen it done, have seen it and performed it while in dream-state, so with the appropriate student or vessel, I am sure that this can be performed to satisfaction. The question is 'how?' Since the lucid dreams and visions only leave images, and those are fragmented, along with the lack of a capability to put the pure thoughts to word or paper makes the task considerable at best, and perhaps extremely difficult at worst. But as long as the imagery remains in the voracity that is its' strength, then the task must be attended to.

Harmonic resonance of the soul - perhaps misnamed, but it is the best that I can come up with at the present moment.

What it is: the effect is that of a complete balance, such as that when a fine machine is running at peak capacity, efficiency, effective power output balanced with input, where energy expelled is fed back into the machine, a theoretical motis perpetuae, or a mystical spiritual perpetual continuity. The soul, at this point, reaches a Nirvana of sorts, fully aware yet not showing outward awareness.

The subject must first have the capacity to immerse in meditation to the point of Rasa, but not void. Resonance then begins with vocalization patterns, searching for that combination of pitch, tone, and timbre that will cause resonance in one part or area of the body, usually the cranium or the sinus cavity. Then this combination of pitch and timbre is very slowly and carefully altered to make another part or area of the body resonant. After finding the pitch/tone/timbre combination required for each part of the body, they are then combined in twos, then in threes, and so forth. It is imperative that the student does not rush! You will perhaps not be successful in resonating the entire body on the first few attempts. It is important to remember that particular pitch/tone/timbre combination that corresponds to the certain part or area of the body and the effects of those variations, as well as any physical resonant combination experienced.

A very good example of this would be the Throat-Singers of Tuvalu. There are recordings of these monks who practice meditation using a very similar technique to that which the reader should attempt. Note the effects that the extremely subtle changes in timbre and resonance have on both the performer and the listener. The Throat-Singers will use a common base pitch and alter timbre and resonance from there to attain their goal, whereas your meditations, being singular, would allow you the freedom of finding your own ‘perfect pitch’ to start from.

Another example, and perhaps, extrapolation, would be the effects that music has upon the human body and consciousness. If one immerses themselves into music that is full of anger and angst, such as the modern music known as 'emo', then the mind will attune itself to that anger and dis-harmony that it is fed. On the opposite end of the scale, one who listens to meditative music, whether it be of natural or electronic origin, can use that to re-adjust their own internal resonance.

For advanced listeners, a challenge would be to find the 'musicality' in such works as "A Rainbow In Curved Air" by Harry Reilly. Here, a melodic like is inserted, and a seemingly-improvised trill-like second melodic line is played above it. The effects on the listener range from mild confusion to a seeming sense of calm washing over the listener. Another example of advanced listening would be some of the works of composer Harry Partch. In one work, which the name currently escapes me, a melodic line is played and repeated, seemingly incessantly. The advanced listener will note, however, that a minute delay has been inserted in what is two actual simultaneous recordings of the same melody. As the piece continues, the delay is increased and decreased, sometimes in the measure of nanoseconds, inducing a phase-effect, which can be seemingly 'heard without listening'.

There are other compositions available; the reader is urged to seek these out and continue documented experimentations.

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May your connection with the Divine Within lead you on your Blessed Path

Shadow