“The possible has been tried, and failed. Now it’s time to try the impossible.“ – Sun Ra
The year 2020 brought a significant change over planet Earth. We may not see the depth and breadth of it yet, but it is a change so profound that it may take us some time to understand the full scope of it.
This change can be boiled down to the currently ongoing transition, or ascension, of Earth from 3rd Density, through 4th Density, to 5th Density.
The model of the densities comes from a book called the Law of One, which is a channeled text from an extra terrestrial presence called RA. It has become the benchmark for understanding more about the extra terrestrial world, and how our planet Earth fits into the galactic neighborhood. Apparently it is how ET races understand their place in the universe.
Very soon we are going to realize, en masse, that really, NOTHING is going to be the same here on earth as it has been, and that is due to our acceptance and maturation as a star race, into the community of galactic races. But in the process we will become stars. Actual stars. And i don’t mean ‘rock stars’, or ‘movie stars’. That is just the cheap imitation version of what we are to truly become.
The densities are like frequency bands of experience and consciousness, really a spectrum, almost like the rainbow has distinct color bands, and yet the boundaries between them are not rigid.
We can think of 5th Density as a much higher range of frequency, that is, higher resolution version of reality than 3rd Density, which is where we have been living for millennia. 5D is the world of the enlightened beings.
This is a major transition, which has been building for millennia, and it will require humanity to step up and wake up.
According to the Law of One, these densities are like the tones in an octave, and every density has nested octaves within it. from the Law of One:
“The term density is a, what you would call, mathematical one. The closest analogy is that of music, whereby after seven notes on your western type of scale, if you will, the eighth note begins a new octave. Within your great octave of existence which we share with you, there are seven octaves or densities. Within each density there are seven sub-densities. Within each sub-density, seven sub-sub-densities, and so on infinitely.“
So already we can see how existence itself is music.
There is way too much to be said about all of this to include in this book, i recommend investigating further into this topic of the densities, as we are soon going to see that it is the foundation of the sweeping changes going on on the planet now, as it has to do with a quantum leap in consciousness for those with the spine and intelligence to submit themselves. Of course, there will be some (like, perhaps, some of my ‘professional musician’ friends and colleagues) who may just pass this off as craziness. If this describes you, feel free to scroll on by. I am just sharing my perspective here, but i understand that it is clearly not for everyone.
I see this direction as the future of music. So i write this as an attempt to understand and learn more about the role of music and the arts in this brand new and unprecedented paradigm. Much of this is a ‘download’ in process, and it is all subject to change as i learn more. Hopefully it will inspire you to go deeper into the art of music, and make your own discoveries.
I find myself often wondering how benevolent higher density extra terrestrial societies work with music, as, from what i’ve been able to learn, they are MUCH more aware of, and sensitive to frequencies than we are. Do they use instruments? What are those instruments like? As their ships are so advanced, i wonder about their instruments, if they are ‘intelligent’ and alive. Or is the music all just telepathic? I also wonder if we have something here with the music that they need to learn…? (I sometimes wonder if that is my ‘mission’ here this time around…) It will certainly be a fascinating exchange when we finally meet face to face.
Please note: I am referring to HIGH DENSITY BENEVOLENT Galactics here, not the predatory types like the ones who have been exploiting us for many years through secret government programs. There is a BIG difference. This is an important distinction to make at the outset. The ones i am referring to are races like the Pleiadeans, Arcturians, Andromedans, and others, beings of highly advanced consciousness and civilizations.
Some sources even say that the Pleiadeans ‘invented’ music, and the current musical instruments we use, in the pre-historic (the days before the current fabricated ‘reality’ we endure) days of Earth when societies here were way more advanced than they are now.
Apparently, they use frequencies for navigation of their ships, as each location in the entire universe has a frequency address, both in space, and in time. To me, the future of music is in that direction. The past is over.
One of the best examples of a musician we have had among us who openly admitted he was from another planet, was Sun Ra.
Sun Ra said: “The planet is asleep, and it is the fault of musicians who are untrue to themselves.” What an outlandish thing to say! Is it true?? Why would he say such a thing? Was he seeing something that we are not? Or was he just crazy? What? the musicians?? not the politicians??
I recommend looking up Sun Ra’s quotes, at the very least, he had something very unusual going on. Here are some others :
“The music is not part of this planet in a sense that the spirit of it is about happiness. Most musicians play earth things about what they know, but I found out that they are mostly unhappy and frustrated, and that creeps over into their music.” – Sun Ra
“We work on the other side of time.” – Sun Ra
“The intergalactic music is in hieroglyphic-sound. an abstract analysis and synthesis of man’s relationship to the universe, visible and invisible, first man and second man.” -Sun Ra
“It’s against my law to be born” – Sun Ra
A recent NYT article on Sun Ra: “Earth Couldn’t Contain Sun Ra’s Ideas. His Arkestra Is Still Exploring Them.”
And a very recent article in the New Yorker about Sun Ra:
“When the aliens came for Sun Ra, they explained that he had been selected for his “perfect discipline.” Not every human was fit for space travel, but he, with his expert control over his mind and body, could survive the journey. According to Ra, this encounter happened in the nineteen-thirties, when he was enrolled in a teachers’-training course at a college in Huntsville, Alabama. The aliens, who had little antennas growing above their eyes and on their ears, recognized in Ra a kindred spirit. They beamed him to Saturn and told him that a more meaningful path than teaching awaited him. They shared knowledge with him that freed him from the limits of the human imagination. They instructed him to wait until life on Earth seemed most hopeless; then he could finally speak, imparting to the world the “equations” for transcending human reality.“
Well, things have been looking pretty hopeless lately, maybe NOW is the time to take Sun Ra more seriously.
By the way, i submit two more candidates of musicians who may very well be brief visitors from another star system. Of course, no way to prove it, but their music testifies. Of course, I am sure there are many more.
This was an interview from Jimi Hendrix (San Diego Free Press, 1969):“The solar system is going through a change soon and it’s going to affect the Earth in about 30 years, you know….I am talking about the Earth itself.”
In the last days of his life, Jimi told me about a strong belief he held, and took a writing pad, to illustrate more clearly what he meant.
Before going into the subject, he talked for a while about a song he had written called “If Six Was Nine”. He told me that there is also a cosmic meaning to that song, hidden in the two numbers six and nine. Jimi said that these numbers together are a very powerful force, and he drew them within each other. It looked like a spiral when he added more rays, the individual rays as well as the whole form spinning to the right. He said the sign with nine rays in it is the symbol of a very high spiritual power which is coming towards earth.
He was convinced that, in the near future, Galaticans from outer space, from another galaxy of great positive power, would come to our planet to help mankind in its struggle against evil. While explaining this, he drew two points representing this higher power coming closer and closer towards our galaxy, the Milky Way, finally reaching earth.
Jimi then made another sketch with four spiral rays pointing leftwards, telling me that this symbol is a negative one, because its rays point to the left.
He told me that the arrival of the positive power would bring about a great change on our planet. Love, peace and brotherhood among the peoples on earth would start to blossom again, just as they had in the ancient civilization of Atlantis. He said that the signs of the beginning of these events would be when significant unexpected changes started to happen in the world. But he also pointed out that we, the people, would also have to become active and anticipate bringing about these positive changes for ourselves and our world. He explained that people on earth have been asleep for too long and an awakening is beginning to happen to the people as this higher power approaches our world.
Let’s just assume for a moment that Sun Ra knew what he was talking about. Maybe he was crazy, but maybe he was seeing something. Seers are often just dismissed as crazy.
Could this be true? Of course, it’s the kind of statement that can’t be proven. One can only speculate what he meant, but perhaps it was that musicians just don’t realize the power of what they have, literally in their hands. Yes, we all love music, and it brings much joy and comfort to people, but could there be a whole new level of music that we have barely tapped into? Could it be that through frequencies we can indeed perform what we could only call miracles? Could music actually be intimately connected to transforming our reality at even the atomic and subatomic level? What if the truth is, that every single note you play changes the entire universe? Imagine the responsibility of that!
To truly take on the life of a musician has the potential to be the highest sadhana (spiritual practice) there is. In India, it is regarded as such. Potentially, most musicians are mystics, as music and mysticism in astrology are ruled by Neptune, the planet of Divine Love. But the downside of Neptune is illusion, deception, glamour, and addiction. So it seems a lot of musicians choose that direction.
What does it mean to be true to yourself? Can we as musicians, say that we have always been true to ourselves? Seems to me, to be true to yourself means to not lie to yourself. At least with yourself, please be honest. Perhaps we could start being honest with ourselves by admitting that maybe we haven’t always been honest with ourselves. I certainly haven’t always been, and have had to deal with the consequences. And, i have realized that being true to oneself is way more challenging than one would think, if one would truly ‘walk their talk’.
Could it be that our music has been putting people and, as Sun Ra said, the planet, to sleep, rather than waking them up? Maybe that’s not what he meant, but it seems worth checking, just to make sure. Can we evaluate ourselves authentically? Or, we can just pass him off as a nutcase.
So, the musician’s dilemma is, how to stay true to yourself, and find your unique voice, while at the same time making a living. Of course there are many musicians who are happy to be interpreters, which is fine. There are many ways to enter into a relationship with music. But i am writing this for those innovators who want to develop their own voice and style, which really requires full dedication. The practice of music can be a very revealing self reflection method, in which we work on ourselves simultaneously with our work to improve the music.
In this clip of Jordan Peterson, ‘the Curse of Creativity’, he goes into this problem a bit, but it seems that basically what he is getting at is that this ‘curse’ is connected to the idea of having to ‘make a living’ at one’s art. I’d say this ‘curse’ has more to do with money, and in particular, the debt slavery and consumption oriented money system that we have been subjected to our whole lives, rather than creativity itself. But notice also, that he says that not everyone is creative. We will explore this idea later, when we look into the power of 3 – 6 – 9 in the creative process.
As the worldwide shutdown of 2020 progresses, we find that the music “industry” has all but collapsed. Certainly the live music side of it has taken a major hit. Is that a bad thing? or is it a good thing? Seems to me it’s both.
I’d say that one of the benefits of our global “timeout” is that musicians are being forced to re-evaluate themselves and we are asking: “where do we go from here?” We are still looking back to the “good old days”, like, for example, the 60’s, when it was a radical explosion of consciousness, and the music that accompanied it. This would lead the inquiring mind to conclude that the music of today is really not as interesting or alive as it was back then, otherwise there wouldn’t be this wave of nostalgia about it. But of course, humans always think that the music they listened to when they were young is the best. right?
But the past is gone, we are never going back there. Everything is going through a massive shift, and before we know it, we will be inhabiting the future. So we are going to have to adapt, or be thrown out with the trash.
So we need to find a new way now, a way for those of us musicians who really want to stay true to ourselves, because, very possibly, WE could be among the ones to truly assist and facilitate the awakening of the planet that is underway right now. And those who continue to insist on staying asleep, are going to quickly fade into irrelevance. It’s already happening.
And the ‘radical explosion of consciousness’ of the 60s pales in comparison to the mass awakening that is happening now. Let’s not miss this massive opportunity, by getting so wrapped up in how great the past seems to be. We have SO much more to work with now, than we did then. So there’s no logical reason that the music shouldn’t be way more advanced as well.
We see hints of that in some of the young musicians who are just coming out now, in their late teens and early twenties. Too young to be in any kind of nostalgia about the past, and coming in with their playing abilities already way advanced. This may be because the entire ‘memory-wipe’ process of the reincarnation soul-recycling ‘death process’ is not working so well any more. It was designed to always put souls back to square one at birth, so they don’t really get to advance in consciousness very much even over a succession of lives. That ‘machinery’ could very well have been dismantled by now, apparently, and this can be evidenced in some phenomenal young talents, especially ones who haven’t gotten sucked in through their ‘smart’ phones into the narcissistic hall of mirrors of the fake wannabe celebrity ‘culture’ of 3D, or into the DJ world of push button pseudo music, where now posers replace composers, and thousands flock to see someone playing records, ‘live’. So much music has become a cheap caricature of itself, and we find that the truly essential elements of music (you know, basic things like rhythm, melody, and harmony) have gone missing.
Where has the beauty gone?
Suffice it to say that EVERYTHING we are accustomed to will be going through a massive upgrade, and this includes creativity, and the arts. So let’s explore some new perspectives on the musical arts that align more with 5th Density life.
This information has been coming to me throughout many years of contemplation of the topic, many different paths of study and practice, both in the musical world, and also in the world of spirit. I have noticed for quite some time that there seems to be a large gap in this area, where we have not fully understood, or just plain forgotten, just how powerfully transformational the study and practice of music can be, especially for musicians, but also for listeners and music lovers. I’d call it musical intelligence, and i feel it is an essential part of the human experience. It’s connected to everything. Even non-musicians benefit greatly from studying music. Something happens when you actively participate, that you miss as a passive listener, or even worse, when you just use music as wallpaper in the background.
In Plato’s time, the quadrivium was an essential part of everyone’s education. It included, arithmetic, geometry, music, and astronomy. Where did it go?
“I would teach children music, physics, and philosophy; but most importantly music, for the patterns in music and all the arts are the keys to learning.” – Plato
The level of music education in society has reached a new low (if it even exists at all), which is evidenced in the ‘music’ we are subjected to day after day, in the popular sphere. In so many ways it has slowly degenerated into a materialistic banality, with very little evidence of any kind of artistic intelligence or beauty. Of course, as always, there are exceptions, but to me, it is an obvious and disturbing trend, which parallels the ever-decreasing pay of the average musician. You get what you pay for.
We might call it ‘musick’.
′′ In the old days, Johann Sebastian Bach had to walk ten hours to the neighboring city to listen to the performance of Buxtehude. Today, a resident of any country is enough to press the button or put a record to be able to listen to everything he wants. And it’s exactly in this unheard lightness, in this absence of any effort and lies in the viciousness of the so-called progress. For in music, more than in any other field of art, understanding is given only to those who make an effective effort. One passive perception is not enough, hearing known combinations of sounds and unconsciously getting used to them is not the same as perceiving and understanding them, because you can listen and not hear, watch and not see.” – Igor Stravinsky
It seems to me that this problem is related to the dualistic way of approaching music, using it as a ‘means to an end’, turning it into a product, to be used for whatever purpose, like music for yoga, music for background, music for movies, dance music, etc. The marketing mindset creeps in, as musicians are always concerned about keeping their bills paid, understandably enough. Ok, as far as it goes, but this is definitely the 3D way of working with music.
3D music is still caught in SO many secondary causes, that it can easily be part of the distortion, rather than of the Innate Harmony of the 5D etheric grid of Primal Light.
Music as the soundtrack for the lifestyle of consumption has lost the plot. Can we please stop referring to music lovers as ‘music consumers’? Music cannot be ‘consumed’. Even after you listen to it, it is still there. Forever!
The 4D way gets more into artistic levels, but at these levels all kinds of strange energies can infiltrate the musical process, and it can be put to work for very dark forces. Just quick look at the half-time shows of recent major sporting events verifies this idea, as these have become more and more perverse and in your face ritual enactments of very dark energies, designed as ‘predictive programming’, to condition the public to accept the ‘dark side’ and its agenda.
So much of the popular music industry is really an expression of the false light, which we could call Luciferian. Idol worship. The false light is very attractive, but beware. Discriminating intelligence is required. Just because it is shiny, glamorous, and glitzy doesn’t mean that it is real. Glamour is the realm of unresolved Neptune, i.e. illusion. Glamour is false light.
But even ‘spiritual’ or ‘sacred’ music can be an entrainment. Just look at all the harm to the human soul that the organized religions have perpetrated. And their ‘sacred music’ definitely helped. Much of it is assuredly great art. But maybe it was just that the music itself is sacred, and no religion is needed, or at least it is secondary.
Music lovers and many musicians seem to be stubbornly unwilling to recognize that perhaps some or most of their favorite music has actually been serving as a way to ‘engineer’ their thinking and way of living, and to actually inhibit their awakening.
“To all of you coaches/mentors that are still endorsing mainstream music, artists etc … you have no idea what that industry is and the level of planning that took place to now utilize it to build the false ascension matrix. A lot of these “artists” are electronically controlled, possessed and plugged into the motherboard. Some of the “twin flames” that are deep in the industry may have very well be sent in to source organic code from indigos/starseeds to then transplant it into the bandwidth they are serving, into counterparts that “suit” the industry. So now they can use everything they’ve learned from indigos to put in their music, movies etc. On one hand, it seems like humanity is evolving and even mainstream is going “spiritual”, but the case here is similar to the rest of lu cfr i an light … layers of truth between layers of high level inversions … Understand something, the true indigos are not likely to be in the entertainment industry, playing along with it.
If any of you have been involved with someone from the industry, and if you can recognize that their main drive is money and fame … no matter what they say, you can tell what they are creating. It really is all about showing off, getting the “bag” , being “blessed by God and blessing everyone” from a space of spiritual consumption etc. It’s all about comfort, self gain, recognition and money. That is a deep dark pit that now is filled with false light. And a lot of these artists are high-level black magicians (most often entity possessed) that know exactly how to use music as a spell. And so the next stage is the brainwashing of the collective about the divine love through the mainstream . A lot of this code is actually siphoned … And some of you know exactly what I’m talking about. If you had direct experience with this, understand that you have to now collect your quota because that is harvesting at the highest level.”
Music at the 5D level will undergo a huge shift, as it will then be repurposed to serve the Divine, and in fact to actually be a liberating force in people’s lives. There is obviously some music even now that serves this purpose, and one can find evidence of it in the way certain composers and musicians live their lives. (You know who you are.) But one thing is certain, this music will have silence as its foundation, and will require that the musician is able to abide in silence while playing and creating. And, to be clear, that silence will in no way limit the music itself, whether fast, slow, many notes, or few.
So much of the musical world these days is a free-for-all, in which there’s no telling what kind of hodge-podge of psychic and emotional detritus is being spewed onto the listener. Really, not much different than politics. Something every listener will eventually have to sort out in their own process of liberation. So, I say, be as careful about what music you listen to, as you are about what food you eat. The frequency of each musician is inevitably embedded, and broadcast in their music. Some believe you can separate the artist from the art, but in a world of wholeness, this idea will not hold up.
“The beauty of a piece of music is not in its technique but in the Soul of its creator; nor is it in the sound vibrations of the piece but in the silence of the Light from which the sound springs.” – Walter Russell
How about that! The Beauty of music comes from silence. Worth investigating further, i’d say.
“Scalar energy is created when two electromagnetic waves from two opposite paths eventually converge. When these energy vectors meet, the equal frequencies cancel each other out, leaving a static or stationary form of energy (zero-point energy) and zero frequency.
Scalar energy does not propagate like normal electromagnetic waves but instead occupies space and increases in spatial mass. The space that the scalar energy occupies is alive with checked and balanced energies. Scalar electromagnetic pairs create this balanced energy. Often referred to as longitudinal waves or Tesla waves, these non-linear, non-Hertzian waves have the ability to carry information. This longitudinal, scalar energy space has extraordinary properties that promote healing.
Amazingly, scalar waves can travel faster than the speed of light and do not decay over time or distance.”
Can our music have these scalar qualities? Can it travel faster than the speed of light, and not decay over time and distance? Can it have ‘extraordinary properties that promote healing’? To me, this feels like the obvious ‘next step’ for music, the language of frequencies.
As we can see from the animation, there are two electromagnetic waves from opposite sides (the blue and green waves) that cancel each other out, resulting in the red wave, which does not move side to side, but rather has amplitude only, but infinite extension.
We could say that the two electromagnetic waves are a mirror image of each other. So the best way to cancel out any frequency, is to be a mirror. This will create a mirror image of the wave, and that will cancel the wave, and then the scalar wave will arise. And this ‘non-Hertzian’ wave will carry information. The information will be instantly broadcast, regardless of distance.
So in order to be a ‘scalar human’, we have to be the mirror, the witness, simply reflecting what is, thereby canceling out the entire apparition of ‘external reality’. This will immediately give rise to an energy that is all-pervading, and instantaneous. This is a domain of power that is something entirely unfamiliar to us, really almost miraculous. And as scalar musicians, we are able to extend that power into the world through music.
When we contemplate the possibilities in regards to music, we can immediately see we are in brand new unexplored territory. This is the new frontier. Think of the power of music created from this space of understanding. This music will be a universal transmitter of healing and wholeness.
ABOUT SCALAR WAVE ENERGY TRANSMISSIONS:
Scalar waves are superluminal, meaning that they travel faster than the Speed of Light. They are fabulous for distance energy transmissions because they are so fast that they can pass through the earth from one side to the other in a nanosecond with no loss of strength. Directing Scalar Wave Energy with focused intention (where the intention goes, the energy flows) can, for example, cause the molecular structure of water to become coherently reordered and can positively increase immune function in mammals. A Scalar Wave, Reverse Phase Angle, at a sub-atomic level, will actually dissipate and dissolve viruses, parasites, infection, fungi, etc. transmuting them back into base elements like hydrogen, oxygen, nitrogen, carbon, etc.
Scalar Waves exist in the Quantum Realm outside of time and space, so we can intend for Scalar Wave Energy to assist us in the remembering and the return to our Original Divine Blueprint of Perfection.
Scalar Waves are composed of pure Zero Point Energy, the energy of pure potential or what I like to refer to as pure Divine Lovelight, pure Source Energy, that is constantly being emanated from deep within the Void of Creation, from within the Sacred Chamber of the Christed, Crystalline, Ascended, Golden, Cosmic HeART of the Source of ALL That Is.
The first change of perspective that we must allow is that as musicians, in order to access this new musical upgrade, we are going to have to deal with our own earthly vehicle, the body-mind, as an instrument, yes, even as a musical instrument. We are going to have to understand and embody the new solar higher light codes, the upgraded DNA, and the entire phenomenon of the Light Body, which has been up until now a very rare happening. There are not many who have undertaken the full process of ‘growing’ the Light Body, in fact very few have had any experience of it at all.
Think of Light Body integration as a major software update to the human genome. It is being brought in now, in a wave of photonic light codes from Galactic Center. And, as far as i can tell, it’s a ‘mandatory’ upgrade. Sort of like an operating system update on your computer. Yes, you can still use the old system, for a while yet, but eventually you will get left behind.
Now we are ripe for a change, because the integration of the Light Body into our earthly vehicle is an absolute must if we, as a species, are to truly graduate to 5th density and enter the galactic community. Even though in the past, to find someone in the Light Body process has been very rare, now is the time for it to come forward, available to all who sincerely choose it. This must be a conscious choice, however. It has never been more accessible. But that is not to say that it will necessarily be easy. It depends on each one. In fact, it is a kind of sacred ordeal not many would have chosen, but now it has become unavoidable if we want to optimize our response to the quickening that is upon us all.
“While we are endowed with a “free” physical form, a Light Body is not a given. It is only a potential, for those dedicated enough, and astute enough to realize its worth. Then it may truly become the “precious human birth” of Buddhist lore. Fortunately, we are equipped for this eventuality. Biophotonic research proves that if we simply visualize light, we create bursts of photon emissions in the brain. We now have ways to measure the biophoton activity inside the body, but no studies have been done on someone in the very process of illumination and dissolution of their material body into ephemeral light. I invite you to be the first volunteer! For now, we can look at the brilliant paths towards Rainbow that the great masters of the past have developed, and in what way biophysics can help us on this unique journey.” – Asa Hershoff, from ‘Rainbow Body 1″ https://www.5elementenergyhealing.com/rainbow-body-1/
We can think of 5th Density as a higher resolution version of Reality, in which everything is liberated into a luminous state, with crystalline detail and a sense of vast spaciousness, even within physical reality. It is the liberation of matter into Light, including your own physical body. Your Light Body is your eternal Self, and inviting it to ‘land’ here in your body is a profound process, an ecstatic ordeal, a literal ‘conversion’, a transfiguration of your earthly vehicle into light. Perhaps more accurate would be to remember that the physical is just frozen light, and that really all we have to do is release our contracted physicality back into to its prior luminous state.
“The lamp of the body is the eye: if therefore thine eye be single, thy whole body shall be full of light.” – Matthew 6:22
The Light Body is, in my view, the true solution to everything, as it is a free energy ‘device’, that is, your energy and attention is truly free, liberated. It is your living plasmic/electric vehicle, an inter-dimensional spaceship beyond compare. It is the source of all healing, protection, wisdom, guidance, nourishment, and creativity. It is beyond duality, beyond coming and going, beyond death and birth. When this body is fully activated within you, many abilities and seemingly magical “powers”, or siddhis, such as teleportation, time travel, spontaneous healing and telepathy, may begin to arise as “side effects” of embodied realization, and your creative life will completely change. Fear is dissolved naturally when you know you are eternal.
This is the Christ Consciousness, and these Siddhis are the miracles of Christ.
The Light Body is your direct connection to Source, Eternal Unqualified Radiance. It is this which i would like to explore here in depth, the upgrade of the creative process to a much more natural, satisfying and holistic process. There is a LOT to be said about it, i will do my best. In this book i want to focus on the creative power of the Light Body connection, and its artistic, and particularly, musical applications.
In order to access our highest creative potential, i believe that the Light Body Process is the most direct way to go. My intention is to present a way to access it, based in my own direct experience, and then from there, ways to allow it to infuse the creative process with true In-Spiration, that is, entering into the Spiral process of eternal life unfolding. This allows for unlimited inspiration, effortless, which spontaneously gives your creations a uniqueness and transformative power that were previously unaccessible. We can, perhaps for the first time, be truly original, that is, of the Origin.
I am also entertaining the idea that the in-depth study and conscious practice of music, as a total life art, could very well be one of the quickest ways to ‘grow’ your Light Body.
Everything mentioned above will be looked into in greater depth, but for now, let’s move into some practical considerations about how to activate this entirely new way of true creativity.
In order to get a clearer understanding about what true creativity is, i think it is helpful to go to the true “Renaissance Man”, that is, the enlightened ‘polymath’ who knows science, spirituality, music and the arts, from the enlightened perspective. These beings have been, sadly, few and far between, but luckily, there is one, Dr. Walter Russell, who lived fairly recently, who has some groundbreaking info for us. His teachings have been clearing up some important distinctions for me, and one of the primary ones is that, we have misunderstood the whole phenomenon of polarity, or duality. And since the entire 3rd density reality, as it has been on earth for thousands of years, is one of duality, my feeling is that to clear up this root understanding will completely change our reality and our experience of it.
This illustration shows this basic flaw in our understanding:
Notice that, instead of one side of the brain being positive, and one side being negative, it is actually, according to Dr. Russell, that both sides of the brain are positive (+), and the midbrain is negative (-).
I highly recommend studying the work of Walter Russell ! He was a friend of Nikola Tesla, who told him that he should put all of his work in a vault to not be opened for 1000 years, because Tesla felt that people were not ready for it, and that even his life could be threatened, because of the potential of his discoveries to liberate humanity. And Walter Russell was, by his own admission, Enlightened, or Illuminated, as he put it. Dr. Russell was going to go along with Tesla’s idea, but luckily for us, he met his twin soul Lao Russell, when he was 77 and she was 44. (11/11) She convinced him to make his work available, and thanks to her, we now have the great opportunity to study it. Here i just need to add: I am a rank beginner in understanding of his work. So much of it is way over my head, so my guess is, Tesla was right. We are going to really have to step up to get in sync with Dr. Russell. One other interesting fact about Walter Russell is that he went through many near death experiences. From the time of his birth, it was every 7 years that he would have one. But then at age 49, in 1921, he had a near death experience that lasted 39 days.
“Why exactly did Nikola Tesla recommend that this material be hidden for 1,000 years? What specific knowledge was mankind not yet ready? This page is an analysis of (Walter Russell’s book) Atomic Suicide to answer these questions. “My husband’s thirty years of seemingly hopeless effort, did not have the usual effect of building up resentments in him because he fully understood that so great a transition and reversal of traditional concept was not possible. You see he was not asking of science to make a little change in its concepts of the universe, he was asking it to overthrow all of it. He was actually trying to make science leap ahead two or three thousand years from today’s concepts. He had, therefore, decided to take Nikola Tesla’s advice and seal his knowledge in the Smithsonian Institute until man had sufficiently unfolded, spiritually, to be ready for it. That was what he was so actively engaged in when God directed my footsteps into this world-need for which I had also been prepared for my part in it, which was to continue it NOW, for the world-need was NOW – not a thousand years from now. lt was not by chance that God sent me to my husband just two months before the time that the complete Message was to be given to mankind in the years of his greatest need, for he had reached the very limit of his physical and financial endurance.” [Atomic Suicide, p. xxxiv] https://svpwiki.com/What-Tesla-told-Russell-to-bury-for…
So, back to the brain. Notice that in the center of the brain it is (-) MINUS, negative, or, as he calls it, the still magnetic light of KNOWING. And the two sides of the brain are mirror images of each other, both plus (+), and are related to thinking and sensing, which is ELECTRIC.
So, my understanding and direct experience of this is that when the still magnetic light of Knowing at the center of the brain is activated, along with the heart, then the electric activity of thought naturally organizes itself into cohesive and coherent thought processes, inherently creative in the true sense of the word. Furthermore, the entire brain ‘fuses’ into Unity Consciousness, as the Light at the center magnifies.
And this still Magnetic Light is silence as well. The foundation, and fountain of all music.
It’s worth noting here as well, that by some reports, the brains of some higher density Galactics are one whole, not divided into hemispheres, like ours are.
Our standard model of polarity is that there is plus and minus, one on the right, one on the left. You always hear talk about how one is more “left-brained” or “right-brained”, but you almost never hear people mention the mid-brain as being an indispensable part of the equation. Without it, your brain is not fully functional. And, by the way, when it comes “online”, you will know it. It is undeniably obvious. It is not a ‘belief’, ‘concept’ or ‘attitude’.
In most people, it is turned off. But many are awakening now to it. After all, it is pure knowing. It is knowing without an object, or a “known”. It is the kind of knowing, that when applied towards any object or situation or being, can know potentially everything about it.
This is called omniscience. Imagine how the activation of our innate pure knowing could revolutionize the whole process of education! Gurdjieff explained it in this way:
The Law of Three holds that three forces act on any event, which can be called Active, Passive, and Neutralizing forces, or simply First, Second, and Third forces respectively. These three forces can appear in any order, 123 for example or 312, giving 6 possible “triads” of forces describing 6 very broad types of event. Humanity is said to be “third force blind”, to have difficulty recognizing the third force, which may appear to us in the guise of a result or of a background environment. “People cannot perceive the third force directly any more than they can spatially perceive the ‘fourth dimension'” Gurdjieff is quoted as saying.
Also Rudolf Steiner taught about the same thing, the ‘triad’. It is worth noting that he points out the difference between Lucifer (false light) and Ahriman (the dark), as distinct from the Christ, which is the Magnetic Light of Knowing. The Light of Christ has no opposite.
“If you consider this whole matter you will have to say to yourselves: I am only able to understand the world if I conceive of it in connection with the number three, the triad. For we have on the one hand the Luciferic, and on the other the Ahrimanic element, and in the middle the human being who, as the third element, in the state of equilibrium between the two, must feel his divine essence. We shall only arrive at an understanding of the world if we base it on this triad and become clear about the fact that human life is the scale-beam. Here the fulcrum; on the one side the scale pan with the Luciferic element, pulling upward; on the other side the scale pan with the Ahrimanic element, pulling downward. To keep the scales in perfect balance signifies the essential being of man. Those who were initiated into such secrets of the spiritual evolution of mankind have always emphasized the fact that it is only possible to understand cosmic existence into which man is placed if it is conceived of in the sense of the triad; that it cannot be understood if it is considered on the basis of any other number. Thus we may say, employing our own terminology: we have to deal with three main factors in cosmic existence, namely: the Luciferic element, representing the one scale of the balance, the Ahrimanic element, representing the other scale of the balance, and the state of equilibrium which represents the Christ Impulse.
Now you may well imagine that it is entirely in the interest of the Ahrimanic and Luciferic powers to conceal this secret of the triad. For the proper comprehension of this secret enables mankind to bring about the state of equilibrium between the Ahrimanic and Luciferic powers; that means, on the one hand, to use the Luciferic tendency toward freedom for the achievement of a wholesome cosmic aim, and on the other hand, to strive to achieve the same with the Ahrimanic element. The human being’s normal spiritual condition consists in relating himself in the proper way to this trinity, this triune structure of the world.
For, the influences upon human spiritual and cultural life do have a strong tendency to confuse man in regard to the significance of the triad. We can observe very clearly in modern culture that the conception of this structure according to the triad is almost completely eclipsed by the conception of a structure according to the duad. If we wish to understand Goethe’s Faust, we must realize, as I have often pointed out, that this confusion in regard to the triad influences even this great cosmic poem. If Goethe, in his day, had had a clear view of these matters, he would not have presented the Mephistophelean power as the only opponent of Faust who drags Faust down, but he would have contrasted this Mephistophelean power—of whom we know that it is identical with the Ahrimanic power—with the Luciferic power, and Lucifer and Mephistopheles would appear in Faust as two opposing forces. I have spoken of this here repeatedly. If we study the figure of Goethe’s Mephistopheles, we can see clearly that Goethe in his characterization of Mephistopheles constantly confused the Luciferic and Ahrimanic elements. Goethe’s Mephistopheles is a figure mixed as it were, of two elements. There is no uniformity in it. The Luciferic and Ahrimanic elements are intermingled at random. I have dealt with this more explicitly in my brochure, Goethe’s Standard of the Soul.
This confusion which thus plays even into Goethe’s Faust is based upon the misconception which has arisen in the evolution of modern mankind—in former times it was different—of putting the duad in the place of the triad when considering the structure of the world; that is, one sees the good principle on the one side, the bad principle on the other: God and the Devil.
Thus we must emphasize the fact that if a person wishes to conceive of the structure of the world in a factual manner, he must acknowledge the triad, the two opposing elements of the Luciferic and Ahrimanic and the Divine element which holds the balance between the two. This has to be contrasted with the illusion which has arisen in mankind’s spiritual evolution through the erroneous concept of the duad, of God and the Devil, of the divine-spiritual forces above and the diabolical forces below. It is as though we were to force man out of his position of equilibrium if we conceal from him the fact that a sound comprehension of the world can only result from the proper conception of the triad and if one makes him believe that the world structure is in some way determined by the duad. Yet, the highest human endeavors have fallen prey to this error.” – Rudolf Steiner
I find myself wondering if Walter Russell’s explanation surpasses that of Gurdjieff, and that his way allows us to perceive the 5th dimension, or density.
So, for example, with male and female. We are told that male is positive, female is negative. But this just foments division and separation, and is an inaccurate way to portray the relationship of male to female.
With the central still magnetic light of knowing activated, the third force, one can see that male and female, as all polar opposites, are more like a mirror image, one of the other, and BOTH are positive, complementary, and equal, really just mirror images of each other. And it is our true ‘Central Intelligence” that grounds and harmonizes them, and allows the two to cooperate and enhance each other, rather than struggling against each other for the upper hand. And remember as well, that when two mirrors are placed in front of one another, we see the reflections extend to infinity.
Imagine how useless your two hands would be without YOU in between them!
I can use the example in music of hand ‘independence’, (or perhaps, ‘interdependence’ is a better word to use). On the piano, normally, the left hand is almost always reduced to a supportive role, the “accompaniment”, and the right hand is the “soloist”. Left hand negative, right hand positive. Left hand, slave, right hand, master. But when we recognize, from the central point of the mirror, that the left is a mirror image of the right, and vice versa, then the interaction of left and right becomes interdependent, a kind of conversation, or even better, a dance. And because of this, both hands get to be creative, together, in a much more complementary way. More on this to come. I will be presenting, as i get further into this, many practical musical exercises that will help to open this up within you.
When you are listening, know that you are at your most precious time, that listening within is as the key that unlocks the door to that holy ground which is, in truth, in all places, in all times, and in all things. – Q’uo
When you contemplate this for a bit, it becomes clear that positive/negative, and opposites, are not necessarily joined at the hip. In fact, Walter Russell says that the still magnetic light at the center is actually the absence of all motion. So ‘negative’ is really that: zero. Which is the direct doorway to Infinity.
This magnetic Light at the center IS silence, the Source of all sound.
This is the portal to 5th Density. Without the Third Force, we are trapped, oscillating in duality, and thus the 3rd Density prison.
This 3D frequency overlay could be compared to taking a high resolution photograph and reducing it to a pixelated low resolution version where you can barely make out what the photo is of. 3D is just a low resolution overlay, like a Photoshop layer, which distorts and hides the true resolution of the layer beneath.
In 5th Density, the whole ‘cause and effect’ idea is neutralized, as cause and effect, i.e. karma, which is inextricably linked with time (Saturn rules both karma and time) no longer applies, at least in the way we have understood it, connected with linear time.
In 5th Density, my understanding is that effect is immediate, as cause and effect are one, so one would be much more aware, and careful with each action, because they would immediately feel the effect of their actions. Time in 5D also undergoes a massive transformation, as the whole idea of ‘linearity’ is undone. Imagine the effect this will have on the entire musical experience.
Actually, according to my current understanding (which is always subject to change) 5th Density IS the natural state. It is the ‘organic matrix’, or enlightened physicality. We have been for millennia in a kind of “low resolution” overlay, the 3D artificial matrix, which is really a kind of dense and obstructed frequency prison, but at this point it really only exists in our minds. Now for the first time, we can free ourselves. The prison door is open, and the ‘exit’ is within. We won’t return to ‘normal’, but rather, much better, we will return to natural.
The current trend towards quantum computers, is in my opinion, a reflection of this transformation within many of us. The computers we have been using up to now, although amazing in their own right, are completely primitive compared with quantum computers, which can perform calculations in a few seconds that would take even the fastest computers we have thousands of years. To me, the binary computer is much like the binary dualistic brain, without the ‘central intelligence’ of the Crystal Palace, the midbrain, which is dormant in most humans.
But now as the pineal/pituitary activates in many of us, we see a reflection appearing in the ‘outer’ world, i.e. quantum computers. Although i am a rank beginner at understanding how they work, i do understand that as well as the two options of a one or a zero, a quantum computer has a third option, like the Third Force, which somehow includes the other two, but goes way beyond it, much like the way the third eye works with the two physical eyes to create an exponentially deeper understanding and insight into what is ‘seen’. It’s important to remember that we are carrying some amazing ‘technology’ within us, but it has been dormant. When that fully awakens we will be living in a brand new universe.
And imagine where music will go in the world of quantum computing. At this point, it’s pretty much inconceivable.
The realization that numbers are actually alive will completely change our approach to music. We always tend to look at numbers as just a measurement of quantity, which is a very one dimensional way to relate to them. We make them our slaves, to calculate our busy-ness. Statistics abound, with numbers shuffled through countless calculations, always working to raise the bottom line, and then the rising numbers of destruction tallies, as we eat our way right through the earth. It’s almost as if we are stuck, counting to infinity.
How about we just STOP for a few moments, take some deep breaths, and approach numbers as they ARE, which is pure magic. let’s rediscover the eternity in them. If we start by recognizing that we are already ‘at Infinity’, then the compulsive need to count to infinity will dissolve.
This will immediately take the ‘drudgery’ out of music ‘theory’. Can we call it something other than ‘theory’? Isn’t a theory something like an idea that you can’t prove is true? Like a conspiracy theory? What does that have to do with music? Music is obviously true. Or, we can revive the true meaning of the word ‘theory’.
A search for the origins of the word ‘theory’ led to this:
“A theoros was one who consulted an oracle or was present as a spectator at a religious feast. Theoria in the sense of philosophical contemplation or vision was cultivated by the Pythagoreans as a religious way of life. Plato uses the term to refer to metaphysical vision of the eternal forms in which mathematical order is fused with religious aspiration. Aristotle represents theoria both as the goal of human life and as that in which God’s own blessedness consists.“
So, it is a living experience, and the way the whole puzzle fits together is a fascinating subject for contemplation. But we have to revive the magic of numbers. I find that numerology and astrology really help me to understand these beings that are numbers. And really it is only 1 through 9 (including zero), because then all the rest of the numbers are combinations of those. Ratios and proportions constantly responding and turning into each other. This is Hermann Hesse’s Glass Bead Game. An indescribable multi dimensional frequency game of art.
And as for zero, here’s an interesting view of it:
“Zero is NOT nothing. It is a unit (a “one”), but in an infinite rather than finite mathematical domain. Zero, we might say, is “infinite one” (one in the domain of the infinite and the infinitesimal). Zero and one straddle the two domains of infinity and “finity”. Each is the basic unit of its respective domain.”
~ Mike Hockney, Hyperreality
So how do we actually imbibe the magic of numbers? Simply, we just start playing with them through rhythmic and harmonic combinations, and keep the mind clean and clear, like a blank slate, a mirror, ready to learn. (This sounds simple, but it may very well be the hardest step.) As learning is remembering what we already know, it should be effortless, once we learn how to learn.
So we play with numbers and really notice their unique and distinct qualities, and allow them to course through our body and nervous system, and they begin to reveal their secrets to us. They don’t reveal their secrets to us if we relate to them from the head, or if we just USE them to make money. SO many magical insights arise when the rhythm practices are engaged in the right approach, the right ‘asana’. Open, centered in the infinite Knowing, and ready to learn, to always try something a little different. Think of something you would like to be able to do, and then try it. Break it down into pieces, learn them, and put it back together again.
For example, just play in 5, and really understand how to make it swing. Try every combination you can think of, and if you can’t play it, slow it down, until you can. Pick one time signature and play it for months until it becomes 100 percent natural. Get away from 4/4 for a while. Imbibe the quality of 5. It is a frequency, and fits with your body in many ways. Your 5 fingers, for example. All the natural patterns are already in you, waiting to be noticed and enjoyed.
So we can begin to see numbers as waves, rather than particles. And that is why irrational numbers, numbers whose decimals extend forever, come into play. And as we will shortly see, in the Enneagram number sequence (142857), when we divide any number by 7 (the number of spaces in an octave), we get a repeating pattern in an irrational number. That makes those numbers as waves. They are irrational, i.e. they go on forever, but with a repeating pattern. And this is what is going on CONSTANTLY in the interaction of tones in music. Numbers as waves.
1/7 = 0.142857142857142857142857142857142857…
Rhythms have families too. Different parts of the world express through the rhythms of their peoples. For example, Africa is very much about 12’s. Eastern Europe, more odd times, 5s and 7s. (see Schillinger’s book for more info).
But to get to these deeper layers of appreciation and engagement with music we have to bring attention more into our own instrument, our own body/mind. Let go the self promotion and the whole idea of selling yourself and your music to others for a while. Music is a language, and yes we have to master that part, but we also have to have something to express, to ‘say’ through this magical language. Your ‘philosophy’, i.e. your love of truth, will be what gives the music substance and originality.
This is a real trick for genuine musicians who need to make a living, putting their own creative expression first. So we begin to see the secondary ramifications of being true to oneself, and that there actually IS a matrix, a kind of web keeping us limited and in a time loop.
Our music can be an integral part of the undoing of all that, for us and for others. But it’s ok to put down the need to ‘perform’ for a while. Practice your music like tai chi. Do it for its own sake. Get into the subtle dynamics of it, including the healing chi flow that can activate. Let performances arise organically, without that extra layer of compulsion, of HAVING to play. That always taints the music with desperation. Those who play music for the love of it only, always have an extra spark.
So instead of pressing your hands together in the traditional form of Namaste, try holding them about a foot apart, and then feel the energy, or chi, between them.
When pressed together, this is like DC, direct current, the kind of electricity we find with batteries. There are two poles, and the energy drains, when connected. But we see in all yogic traditions, this pressing of the palms together. Worth investigating.
The hands held apart is like AC, alternating current, which requires a third pole, which is the ground. This ‘ground’ would be the minus, the still magnetic energy of the earth (the actual ground), and the current between the hands would pass back and forth, in a kind of figure eight pattern, or infinity symbol, which eventually reveals itself to be a toroidal field. The energy cancels itself out at the center, like a node on a vibrating string of a musical instrument, and then arises in its mirror image on the other side. This oscillation happens at lightning speed and it generates and regenerates energy, rather than draining it.
This node at the center between your hands becomes a generating and re-generating force, a direct connection to the free energy electric universe in which we swim. When combined with the central channel within the body, the tai-ji pole, or from Human Design, the magnetic monopole , my contention is that this advances the creative process to another universe, the one of Creation Itself. And when connected with the inner vision of the pineal, this node in the toroidal field between the hands becomes the nexus of creativity. A kind of ‘mini me’ toroidal field, within which we can generate new creations. We become ‘Creational’.
In this diagram we can see: ‘Vitality increases as the ability for poles to pull apart increases”.
So, we can see, if we would like to go to center, go within and abide in the central channel, i.e., to be still and know, we can press the palms together. But if we want to create something, we can move the hands apart, and build the alternating current energy charge between the hands. It is this energy charge that we will use in the creation process of whatever we are working on with our hands.
In a previous article i mentioned the Gateway of Light, which is a practice of the American Shaman Mark Cloudfoot Gershon. I recommend watching his videos about how to practice it. It is very simple, but is just one component among many in the process and practice i am outlining here. Cloudfoot has pointed out, though, that the practice creates an alternating current kind of electricity between the hands, much like the ball of energy practices of the ancient Chinese healing arts such as Tai Chi and Chi Gung. It seems simple, but can be very powerful indeed. The most powerful solutions for everything are always the most simple.
And according to Cloudfoot, this is the way to move the ‘assemblage point’, which was part of the teachings of the sorcerer Don Juan, of Castaneda.
“The point of the Gateway of Light is to assemble the assemblage point in the front of the energy field where one is the effect of things in life. Rather than being the effect of the emotionality and alien installations of the rolling force, being the unified field of the assemblage point is a much better place to be.” Cloudfoot
Each living being, including each one of us, has its own toroidal energy field. Every star, sun and planet has a toroidal field as well. Even the galaxies are massive toroidal fields. The torus is an integral part of the whole creational process. The center point of the toroidal field of the human being is at the heart. We call this the ‘zero point’. It also is referred to as the ‘assemblage point’ by some, including the Castaneda Don Juan teachings.
A Bloch wall is a narrow transition region at the boundary between magnetic domains, over which the magnetization changes from its value in one domain to that in the next, named after the physicist Felix Bloch.
The Torus is The Code.
It is the only known shape
in our known universe
that exists at all scales.
What I mean by this “Scale Invariancy”
is that the torus is the shape of all protons,
as well as being the shape of the iris’ lens of the eye,
of the human field, of the dimpled north and south poles of our precious planet Earth,
and our extraordinary Milky Way Galaxy.
They are all torii or toroidal fields.
It is what defines all life
and assists our enquiring minds to comprehend the invisible structure of space.
Top scientists today
still believe that space is structureless, ie: they call it a vacuum,
yet, it is absolutely laden, like tree with fruit, with hyper-dimensional Geometries.
At the center of our body, on the subtle layer, is also what the ancient Chinese healing arts refer to as the ‘tai ji pole’ which is a kind of vertical channel in the subtle layer of the body, which contains the three dantiens. These are at a deeper level than the chakras. We could think of them as the three wells to infinity, one in the center of the head, one in the heart, and one at the hara, or sacral center.
“in both the Hindu and Buddhist sacred texts they do commonly refer to the sacred 3 centers within their understanding of the energetic matrix. They call them Granthi. They are 3 energetic or psychic knots that need to be untied, unwound and unbound before Awakening can occur.…..Both the 3 dantiens and 7 chakras emanate from the TaiJi Pole which is the deepest energetic structure within the body. Its actually a hologram that reflects the Divine within the center core of your body/mind. The dantiens overlay, encompass and are slightly deeper than the chakras.To use a metaphor the chakras are like geysers that connect the external Earth to the internal, the dantiens are the deep internal reservoirs or aquifers and the Tai ji pole is the emanating source. “http://www.mindbodyspiritodyssey.com/2013/03/the-3-dantiens-and-chakra-system.htmlhttps://lfiaa.wordpress.com/2015/06/26/the-taiji-energetic-pole/
The way i see it, the tai-ji pole is the central spiral vortex of the toroidal field. The zero point is at the dantien of the heart, in the center. The lower dantien connects us to the crystal core of the earth, and the upper dantien in the head connects us through the crown to the infinite Solar Logos, the Divine, as well as all the higher density worlds and dimensions.
The toroidal field can be activated through processes of attention, in specific, releasing and transcending attention at its root in the heart. One becomes ‘non-local’, and immediately has access to the eternal powers of Creation. Although this is extremely simple in essence, to sustain that ‘non-locality’, bodily, can magnify to the point of being unbearable. So to sustain it, moment to moment, is the practice, and requires your all, literally.
Activating one’s own toroidal field is a matter of resonance. One has to tune oneself, so to speak, through absolute stillness and silence. As attention falls into the zero point at the heart, one becomes in tune, resonant, and the central channel brightens to the point of outshining the entire body mind in the Primordial Radiance.
A Moiré pattern is an interference pattern produced by overlaying similar but slightly offset templates. Notice how when the two are at their closest, the pattern that appears is pretty much identical to that of the toroidal field above.
The Moiré pattern is the foundation of ALL rhythm, (and therefore, by extension all harmony) as all rhythms are generated by the interference of two or more pulses of different periodicities. In other words, a polyrhythm. And these polyrhythms, as ALL polyrhythms, are palindromes. More about this in the section on Fractal Rhythm Theory.
“A genius is the one most like himself” – Thelonius Monk
If we think of a guitar tuner, for example, notice that a note is out of tune if the indicator is either to the right or to the left of center. Only when it rests in the exact center is the note tuned. This same process applies in the brain.
Duality pulls us out of center. So all these issues of right and left, male and female, show an imbalance of the brain. If you lean to one side or the other, you are, in fact, out of tune. So, we could say political parties are out of tune, either sharp or flat. ‘Missing the mark’, which is actually the definition of ‘sin’.
When two tones are perfectly in tune, they disappear into each other to become one.
When you are in tune, resting at center in the radiant blissful still silence of magnetic knowing, the seeming opposites fuse into a higher expression, beyond both. They harmonize. But until you get an actual taste of this fusion, and how ecstatic it is (ec-static means literally “standing outside”), you will simply not believe it is possible, and will just continue in the duality struggle, attempting to manipulate the external hologram, while not realizing you are actually projecting it.
One symbolic representation of the toroidal field which is very relevant to music is the Enneagram, and the Law of Octaves.
So let’s take a look now at the Enneagram. This symbol came more into public awareness through the spiritual master George Gurdjieff, and then more recently has become popularized as a system of 9 personality types. I myself studied that form of the Enneagram of personality types, or ego-fixations, for many years in the Ridhwan School of A.H. Almaas.
As interesting as that is, I find it amazing that in the whole time i was studying the Enneagram in the school, or in any of the many books i read about it, never once did i see mention of how the number pattern was arrived at: 142857, nor what the 3,6,9 triangle is about as well. And well, it was never really explained what the numbers themselves had to do with ego fixations.
As it turns out, the 142857 pattern happens when you divide 1, or any other monomial, by 7.
So, 1/7 = 0.142857142857142857142857142857142857……
And we can see that every time we divide the next higher number by 7, the pattern just shifts to a different position, but still keeps repeating. This we could call “number as a wave”. It is irrational, i.e., goes on forever after the decimal point, but also it contains this repeating pattern. This quality of permutation is a key element in the creation of music.
So, it is a way to make infinity finite.
I’d say that’s as good a definition of music as any !
Originally, Gurdjieff associated the Enneagram with what he called the Law of Octaves, which is why i feel that it is a very important part of the esoteric study of music. How octaves work is key to understanding how growth happens, how life proceeds, and how we can begin to be ‘at cause’ rather than ‘at effect’.
OK, so one more little detail. If it is the Law of OCTaves, why do we divide by 7, and not 8? Because the divisions happen at the space between the notes, not on the notes themselves. So if we count the spaces between the notes in an 8 note octave, C to C, for example, we find there are 7 spaces.
As well as the Law of Octaves, Gurdjieff also taught about the Law of Three. This Law pertains very much to the 3 6 9 triangle in the Enneagram. Here we revisit his quote from above:
The Law of Three holds that three forces act on any event, which can be called Active, Passive, and Neutralizing forces, or simply First, Second, and Third forces respectively. These three forces can appear in any order, 123 for example or 312, giving 6 possible “triads” of forces describing 6 very broad types of event. Humanity is said to be “third force blind”, to have difficulty recognizing the third force, which may appear to us in the guise of a result or of a background environment. “People cannot perceive the third force directly any more than they can spatially perceive the ‘fourth dimension'” Gurdjieff is quoted as saying. In terms of the Law of Seven one of the three forces appears as the “do” of the octave and the other two appear as the “shocks” (which also function as the do of new octaves).
This diagram shows how Gurdjieff arranged the tones around the enneagram. Notice the ‘X’ at 3 and 6. He says that those points are the half steps in the scale, where a “shock” is introduced, that changes the direction.
As he says that the octave is how all growth and change manifests, these “shock” points are important to keep things progressing in a kind of spiral way. They help change the course from being just a straight line, which is not natural, you don’t find straight lines in any natural form of growth.
this link explains it in more detail, if you can decipher the meaning: https://gurdjieff.work/ae/terms/en50/0705.htm
In the major scale, key of C, we find the half steps between 3 and 4, and 7 and 8, or between E and F, and B and C.
So we see that the tritone in the major scale, i.e. the interval of F to B, is there at those half step points. Therefore, i submit, that the tritone, or diminished 5th/augmented 4th interval, is in fact the “lever” or “spring” in the octave, which brings about the necessary changes to keep the music flowing and growing. Because the tritone is the salient feature in the dominant 7th chord, for example, we always find it in situations that require resolution. Therefore any kind of modulation to a new key, which in life can symbolize change into new territory (like moving to a new place, or finding a new work situation), any new growth, involves the tritone, as we use dominant 7 chords to ‘set up’ the new key.
We could even say the tritone “spiralizes” the octave.
In the book “Beelzebub’s Tales to his Grandson” Gurdjieff invented a lot of new words, one of which is the word ‘Stopinder’, which as far as i can tell, refers to a tone as a center of gravity. For me this is a key to help deepen my understanding of what tones are. As we know that the centripetal force at the center of the toroidal field IS actually a center of gravity (blissful, magnetic, still), we can deduce that each tone in itself has the potential to be a toroidal field. As such, it has a magnetic field. Now we can imagine the toroidal fields of two or more tones interacting, creating a kaleidoscopic array of frequency relationships as a kind of fractal geometry. These interference patterns ARE music.
“This sacred primordial cosmic law has seven deflections or, as it is still otherwise said, seven ‘centers of gravity’ and the distance between each two of these deflections or ‘centers of gravity’ is called a ‘Stopinder-of-the-sacred-Heptaparaparshinokh.’ “This law, passing through everything newly arising and everything existing, always makes its completing processes with its seven Stopinders.
However, we find some contradictions in this material. Here’s one: “There are two definitions for Stopinder, either the ‘gravity center’ or ‘distance between deflections’ and this has hopelessly confused the reader and even Gurdjieff“.
So it becomes clear that notes and tones are two very different things. The way i see it, notes are the equivalent of particles, and tones are the equivalent of waves. Notes are the dots on the page, tones are the music.
If we consider a guitar string, for example, we place our finger on the part of the string that doesn’t vibrate, which is like a node of stillness. But the tone is created by the rest of the string vibrating. They work together. So the note is really the ‘node’, the place where the wave goes to zero, and crosses the center line. This is the point of silence, or the fulcrum which makes the tone possible.
And the tone is the vibrating string, the wave itself. But a living tone is not always created when a note is played. This will depend entirely on the musician, and to some extent the instrument. The art of tone creation on an acoustic instrument is a dying art. It requires deep listening, silence, and centeredness in one’s Divinity. Your ‘tone’ on your instrument will reflect perfectly the depth of your self understanding.
But for now let’s just stay with the idea that each tone has a kind of dimensionality to it, and that tones have many mysterious and subtle connections, that are magnetic in nature.
But, as not all enneagrams have the 3/6/9, we can also deduce that not all tones carry a resonant toroidal field. Thus, i would argue that the toroidal field of the musician needs to be active, for the tones to have their toroidal field active. The difference is subtle, but powerful. I do understand that many will not want to take the time to develop a singing living tone, as most audiences cannot tell the difference, one is tempted to say ‘why bother?’ But let’s not get complacent.
Continuing on to another contradiction, let’s notice how, in Gurdjieff’s model of how to place the tones around the Enneagram, there is a problem with associating the half steps with 3 and 6. Can you see it?
The question then arises as to whether 5 (the fifth note sol) ‘Piandjoehary’ should also be moved up, but in BT pg.790 it is clearly linked to (4) ‘fa’ ‘Tetartoehary’ (which has the prefix root meaning 4.) Thus it is clear that the substance at ‘la’ is missing! As to why Gurdjieff made this mistake, I believe is because no one dared to question it, due to his status as “infallible leader”. As we shall see, the Food Octave that he presented to Ouspensky does not have that error. Ouspensky, who the closest to being his peer, would have pointed this out, but perhaps he was never given a copy or threw it in the trash. Why Orage did not catch it, when he translated, is a mystery. I suppose someone might say that Gurdjieff made this error to make us think, but this book is his legacy, so it needed to be correct. Others like John Bennett have just accepted that that ‘Exioehary’ is meant to remain at (6) (“Talk’s on Beelzebub’s Tales, p. 99”).
In the diagram above we find the half steps between 3 and 4 (or mi, and fa…as it should be) and between 5 and 6 (or sol and la), which does not correspond to the major scale, or any of the commonly used modes, like Dorian, Phrygian, Lydian, etc.
To make a scale that would fit that, with ‘do’ at the 9 point on the enneagram, we would have to make a scale which is major on the bottom tetrachord (4 note scale grouping), and minor on the top tetrachord.
This is a beautiful scale, but it is not commonly used.
C D E F G Ab Bb C
This is actually one of the modes derived from melodic minor. In this particular instance it is F melodic minor, but starting and ending on C, the 5th.
this link demonstrates the error in the Gurdjieff octave, i.e. that the half step at ‘si’ (or ti) does not happen in the right place.
I do find the idea that this scale is BOTH major and minor intriguing, so i offer it as one possible solution to the problem. But i also offer another more interesting one as well.
If one researches this topic online, they will find an unbelievable amount of arcane information about the enneagram, that only the most diehard esotericist would want to decipher. There are SO many different interpretations of what the enneagram stands for that in can be bewildering and confusing. And Gurdjieff’s own writing in Beelzebub’s Tales, is very obscure. Let’s not get too lost in the details, as we run the risk of losing the forest for the trees.
What interests me most is simply the number pattern and how it is derived from dividing any monomial by 7, and the idea that it is a symbolic representation of the toroidal field. Also it is fascinating how the enneagram shows the link between the toroidal field, octaves, scales, and music in general. I have an alternate interpretation of it, that i will present here, although i do not claim it to be anything other than another possibility. Feel free to discard it if you don’t find it relevant.
I would like to offer a different way of putting the musical tones with the Enneagram, that solves the problem of the ‘si’ being in the ‘wrong’ position.
Firstly, Gurdjieff says the 9 at the top represents Do. I submit that the 9 is actually silence, the Divine, beyond time, beyond manifestation. 9 always turns into itself when doubled and reduced to a monomial. It is Self-Existing, as is the Divine. it is outside the octave, and is the last monomial (single number).
Also whenever we add numbers together, to reduce them to a monomial, we can just cancel 9s out. (For example: 679. 6+7+9 = 22. 2+2 = 4. But also 6+7 = 13, and 1+3 = 4.) So the 9 actually equals zero in this type of number reduction.
Then 1 through 8 are the octave, 1 being D and 8 being D as well. And the tritone, which is what occurs at the half-step points in the octave, are actually the 3 and 6. This means we can use the Dorian scale, or C major starting on D, and then everything fits.
In Gurdjieff’s version, why are some of the points on the enneagram tones, but 3 and 6 are spaces between tones? To me, that feels like a flawed understanding. Even Gurdjieff himself admitted that he didn’t know everything about the enneagram. And he was not really a musician. That is, as far as i can tell, he never studied music formally. Thomas De Hartmann, who composed the music with Gurdjieff, did study music, gave up a promising musical career to be with Gurdjieff, and apparently did all the compositional ‘heavy lifting’, while Gurdjieff whistled the melodies to him. Does that make Gurdjieff a musician?
remember the Dylan Stephens quote above: “….it is clear that the substance at ‘la’ is missing! As to why Gurdjieff made this mistake, I believe is because no one dared to question it, due to his status as “infallible leader”.
As you may know, i’m a firm believer in questioning literally everything, especially ‘infallible leaders’ ! These great beings who came before us have all had their failings, but also have brought amazing gifts to us. It’s up to us to sort it out.
And as for the 1 and the 8 being the same note in the version i suggest, that’s the octave. After all, it IS “the law of octaves”, and OCT means 8. So i submit, we need both of those tones.
Also, an interesting side note: All intervals can be inverted. A unison (1) becomes an octave (8) . 2ds inverted become 7ths. 3rds inverted become 6ths. and 4ths inverted become 5ths. This basically creates three groups of intervals, besides the unison/octave. But notice how each pair adds up to 9. 1+8, 2+7, 3+6, 4+5. So in this arrangement of tones around the enneagram, we can see these pairs on opposite sides.
Note that D is called the “Supertonic”. could it be, that the supertonic IS actually the ‘supertonal center’ of the octave, rather than C ? Sort of like Superman.
The Supertonic is the second scale degree. But it is also, an octave higher, a fifth above the fifth, which is actually the 9th. There’s nine again. And, the 9 is actually outside of the confines of the octave, so just as in the Enneagram, the 9 represents the Divine, outside the “framework” (or octave) of the manifest reality, so too we could think of the 9, i.e. the supertonic, as the exact same thing.
Since the fifth is the ‘dominant’ force in a key (see my tritone article, the chess analogy), then we could say the fifth of the fifth, or supertonic, is like the Higher Power, Divine Guidance, by which the King (the fifth) is advised and guided.
Using this model of the Enneagram, we can think of the Supertonic , or RE, as the symmetrical center of the octave, and if we imagine ’emanations’ coming from this center, then the first diatonic emanation would be to C and E. So we could say that the tonic is the first emanation of the supertonic. And the next diatonic emanation would be the tritone, B and F. I find it interesting that these two tones are the functional part of the dominant 7th chord, i.e. the tritone.
Think about it: why is the Major scale the ‘go to’ scale always? Couldn’t it just as well be the Dorian? The ‘major’ always strikes me as a bit military, with the tritone forced into the position of ‘the bad guy’, the revolutionary, the one who is always unresolved, bringer of tension, when he is the bringer of change and creation.
In the Dorian, that is not so. The tritone is the 3rd and the 6th. Just a thought. The jury is still out on this one, this issue of how to place the notes into the Enneagram. So let’s not get too hung up on it, as it will reveal its secrets over time to those who study it.
about the Dorian mode:
“First Ehul voice or voice I Doric begins rising on PA (D) brings in the human’s soul the feeling of glorifying God. This is the voice that defines the music in the category of arts, because, as St.Ioan Damaschin said: “Of all (voices) you have the first victory.”The first voice brings the hope of salvation to humans, because it creates a sense of strength and of steadiness, is full of optimism and melodiously.” – Psaltic Modes – Meanings and Symbolics
I think this points to the importance of symmetry in music, as symmetry implies balance, which brings one to the central channel, and thus to states of transcendence. Middle C is clearly not in a symmetrical position, and yet ‘middle C’ is one of the cornerstones of modern music theory. And, it is not at the middle of the piano. So why don’t we orient ourselves around ‘middle D’, then? At least it’s position is symmetrical, as is that of A flat.
But we will find more and more examples of symmetry in music, once we start to look for them. Like, for example all polyrhythms, which are all palindromes, therefore symmetrical. We will explore these in depth in the section on Fractal Rhythm Theory. And we will find that practicing these will help us in a myriad of ways, to imbue our music with a more transcendent quality. The great French composer Olivier Messaien referred to this as ‘the Charm of Impossibilities’.
As the Dorian scale is built on the iim (two minor) chord, it falls in the subdominant tonal area. The three tonal areas are tonic, subdominant, and dominant. I hear the subdominant tonal area as being the balance between the extremes of tonic and dominant. So the Supertonic, would be a different kind of ‘stability’ than the tonic. More balanced, in between, like the third Force. Perhaps even a portal to a higher tonality. Certainly the first step into a new octave.
Going back to Gurdjieff’s Law of Three, the subdominant tonal area (which includes the IV and the ii) would coincide with the Neutralizing Force, which is the one he suggested people usually cannot perceive directly. So perhaps we just cannot yet hear how the Supertonic is actually the symmetrical center of the diatonic scale.
Now let’s look into a similar and fascinating subject, that of Vortex Math. This is the mathematics of the vortex, or of the toroidal field, or torus. Since our Light Body is synonymous with our toroidal field, my take is that vortex math is an essential component in the process of creativity, especially music.
We immediately notice a similarity in the above diagram, to that of the enneagram. Both have the 3, 6, and 9, both have all the monomials up to 9. The only difference is the pattern of the lines in the center. In this case the numbers follow this sequence: 1, 2, 4, 8, 7, 5.
Remember that the enneagram has the pattern: 1, 4, 2, 8, 5, 7. So we see here that the 4 and the 2 change places, and the 5 and the 7 as well. But isn’t it interesting that both contain the same numbers, although they are arrived at in two completely different ways, one by dividing by 7, and the other by doubling.
Vortex Math was discovered by Marko Rodin, who has become a kind of underground folk hero for it among free energy enthusiasts. He is an eccentric and brilliant character, and the whole premise is fascinating.
The number sequence of vortex math is derived simply from doubling. So, it starts on 1, then 2×1= 2, then then 2×2 = 4, then 2×4 = 8, then 2×8 = 16 which equals 7 when we add 1 + 6, and then 2×7 = 14, which becomes 5 when we add 1+4. Then 2×5 = 10, which equals 1 when we add 1 + 0. So we are back at the start. We then see the whole sequence, 124875.
So as we look at this sequence on the diagram we see that it makes a kind of rough figure 8 pattern, or the infinity symbol. And it crosses the center line at zero, which is directly below the 9.
This animated gif shows very simply, the difference between the enneagram, and the vortex math diagram:
Notice the difference of where the center line is crossed in each diagram. In the enneagram, it happens more near the top, and in the vortex math diagram, it happens lower. More about that later. And notice it is really just the switching of the positions of 1 and 8, i.e. it is inverting the octave.
We haven’t even scratched the surface of this fascinating topic here.
“The Enneagram is identical to each of the following:
a) The Symbol of Enlightenment
b) The antithesis Nexus Key
c) Dividing by Seven
d) The Doubling Circuits
e) The Abha Torus “
this link will send you down a fascinating rabbit hole about this whole topic: http://vfedtec.com/doc/rodin/
Many people are attempting to make Rodin Coils, which are actual physical versions of the torus, designed to be free energy generators. re the Rodin Coil, and therefore, the torus:
“It is a room-temperature superconductor; electricity passes through it without resistance because the pathway made for it by the wires keeps it from interfering with itself. “
So when our toroidal field activates, we become a ‘superconductor’, able to process vast amounts of energy with zero resistance.
And, it is also interesting to note, that quantum computers require superconductivity to function. Up to now, superconductivity has been achieved by the use of extremely low temperatures. But if it is true that a Rodin Coil is a room temperature superconductor, this may revolutionize the whole field of quantum computing.
“It (the Rodin Coil) also has already been demonstrated to form a magnetic monopole (i.e.: magnetizing a bar of iron with only one magnetic polarity). “
Refer again to Walter Russell’s magnet, which has PLUS (+) ‘North’ at both ends, and the still magnetic Light of Knowing ‘South’ at the center.
Also the magnetic monopole is a central element of Human Design, which said to be in each one of us in the G Center at the heart, i.e. the God center, and it is in fact, the driver of your ‘vehicle’. My feeling is that the magnetic monopole and the tai ji pole are one and the same.
This in itself is another huge topic, the Magnetic Monopole of Human Design. This link is a brief introduction:
This animation shows Vortex Math in action:
Notice in this animation how the energy moves around the “figure 8” (infinity symbol) pattern of 124875.
It crosses the center line twice, once going and once coming.
We can also see in the diagram that the energy flows in the opposite direction simultaneously. This ties in with this whole idea of alternating current. This is not a one-way phenomenon.
One other thing worth noting is how much this resembles the heartbeat, and the circulation of blood in the body. In other words, the pulse.
So I believe this contains the key for the ‘pulse’ of music, or the ‘groove’ or ‘swing’: passing continuum. Because it is the exchange of energy between 3 and 6, the more subtle energy passed back and forth between the hands (see next section), that energizes, and is energized by, (it is a regeneration circuit) this ‘pulse’ in the body, both in the enneagram and the vortex math versions. This passing of continuum charges the center line with energy every time it crosses it, and this passing of continuum provides the dynamic pulse, the momentum of the music. And the 9 at the top is intimately involved as the symmetrical and transcendent center of the entire process.
We can imagine a swinging pendulum, crossing the center line each time. But it can be a narrow swing, or a very wide one, while keeping the same tempo. So when we are ‘swinging hard’, the pendulum has more amplitude, even within the same tempo. And i am not referring to a jazz kind of swing necessarily. Even ‘straight 8ths’ can swing. It all depends on the amplitude of the wave.
This diagram from Walter Russell points to this process.
So, for the reverse current, instead of doubling the number, we halve it. But the same pattern occurs.
half of 1 = .5.
half of .5 = .25, 2+5 = 7.
half of .25 = .125. 1+2+5 = 8.
half of .125 = .0625. 6+2+5 = 13, 1+3 = 4.
half of .0625 = .03125. 3+1+2+5 = 11, 1+1 =2.
half of .03125 = .015625. 1+5+6+2+5 = 19, 1+9 = 10, 1+0 = 1.
And we’re back to the beginning. And we can see that the resultant numbers are the same pattern, but in reverse: 578421
And, another little bonus is that these numbers, (all of the numbers except 3,6,9) when all added up and reduced to a monomial, also equal 9.
Now, it’s important to understand that this is just a two dimensional representation of a much more complex and fascinating process, as the toroidal field, or vortex, is multi dimensional. If this interests you, i recommend checking out Marko Rodin’s explanation online. Although he is the one who discovered it, he has not made all that much material to study, because he is very much against trying to profit from it, or patent it, as it is about free energy, and that means ethically it has to be literally free for all who want to use it. As a result it is ‘open source’, and there are many people experimenting with Vortex Math, and attempting to build free energy devices such as the ‘Rodin Coil”.
But we can see in some images the patterns that occur on the surface of a torus, and how the 124875 pattern interacts with the 369 triangle. Note how the 3s, 6s, and 9s are all in the same rows, as are the 124875 sequences. And notice too, how the 369 rows are always the palindromic form of 396 693 396 693 etc.
Let’s also notice how both the enneagram, and the vortex math have the 369 triangle. We hear fairly frequently these days the famous quote from Nikola Tesla : “If you only knew the magnificence of the 3, 6, and 9, you would have the key to the universe.”
So now, we can assemble the parts into a coherent understanding of the sacred anatomy of creation.
This is where we can relate all this to music, and our musical process.
Because, as explained above, the center line is crossed in different locations, related to the lower 2 dantiens, depending whether we use the enneagram or the vortex math, i’d like to suggest that both of these processes are going on at the same time, just as rhythm and harmony happen simultaneously in music.
The enneagram crosses the center line in the upper part of the circle, (our body), so we could say that the enneagram is more at the level of the heart center, the center dantien.
And the vortex math diagram crosses the center line lower in the circle of our body, so we could say that vortex math applies more to the lower dantien, or ‘hara’.
Then, as the 9 is the only number ON the center line, we can say that it is related to the midbrain complex, the upper dantien, the Crystal Palace of ancient Chinese healing and meditational arts. All three of these dantiens make up our central intelligence, the tai ji pole.
The upper dantien, the Crystal Palace, is the third eye (pineal), the crown (pituitary), and the “reptile brain” which, in my view, as i have explained in previous articles, takes on a completely different role when the pituitary and pineal are activated, than when they are dormant. When they are dormant, the “reptile brain” is related to fear and survival, but when integrated into the Crystal Palace, activated third eye/crown, the ‘reptile’ brain takes on a penetrating awareness in all directions. (black lataif)
As the current of subtle energies flows through the 3 6 9 circuit, this stimulates, through a kind of etheric magnetics, the “figure 8” current flowing through the 124875 sequence in the vortex math, AND the 142857 sequence of the enneagram. These two number sequences are much more related to the physical manifestation, whereas the 3 6 9 is more invisible, etheric in nature.
Think of it: octaves contain 8 tones. Where does the 9 fit in? God is embedded in every octave….. but outside of it.
Remember, at the center of the head is the ‘still magnetic Light of Knowing’. So it is the resting in this still place of the mirror, the zero point of the Third Force, the 9, that generates the flow of magnetism through the subtle bodies through the 3 and 6 at the hands, that translates the stillness, the silence, the power of the Creational Divine, into tangible ‘real world’ creations. These appearances, as all, are electrical oscillations in the Alternating Current of manifestation. And it is a spontaneous occurrence. In true creation, there is no ‘doer’, therefore nothing to be ‘done’.
‘in doing nothing, nothing is left undone’ – Tao Te Ching
Oscillations 3+6+Fulcrum 9=Whole” -Dipti Sharma Awasthi
Now for music, as the enneagram is centered more around the heart, we can relate this “law of octaves” pattern to the creation of melody and harmony, and the emotional colors associated with the heart.
As Gurdjieff also stressed many times, we are not born with a soul, it is not guaranteed. It needs conscious attention, practice, and perseverance to grow your soul. So, one has to come to the realization that one has to consciously take this on. It is then that the 3 6 9 triangle of your particular organism/body begins to activate.
Let’s revisit Gurdjieff’s quote from the image above re the Enneagram:
“Each completed whole, each cosmos, each organism, each plant is an enneagram.”
Since each completed whole, each cosmos, each organism, each plant, each planet, is a toroidal field, or arises in a toroidal field, we can think of the Enneagram, and the Vortex Math diagram, as a kind of blueprint, or a symbolic representation of the toroidal field.
He goes on to say: “But not each of these enneagrams has an inner triangle. The inner triangle stands for the presence of higher elements, according to the scale of ‘hydrogens’, in a given organism.”
So perhaps this is the reason that not everyone is creative. We have to choose creativity consciously. We have to grow our creative self, just like we have to grow a soul. This takes conscious and consistent applied work on oneself, which begins to nourish the 3 6 9 triangle within us.
SO without the 3 6 9 active, the 124875 (Vortex Math) and the 142857 (Enneagram) are just mechanical. Gurdjieff spoke often about how most people live mechanically, like machines.
As near as i can make out, this term ‘hydrogens’ applies to higher density, higher frequency energies. But also hydrogen is one of the most basic ‘building blocks’ of our reality, and is very much related to water. And, let’s remember that water can be turned into fuel, by separating the hydrogen from the oxygen using electricity. Everything is very symbolic.
But anyway, these “hydrogens’ arise in a whole spectrum, from very dense, to less dense.
The point here is that this 3 6 9 triangle is not always active in an organism or being. We can see this for example in the lives of people who are automatons, living on ‘automatic’, really, mechanically. Instead of self directed and divinely inspired action, i/e/ truly creative action, most of their actions are actually ‘reactions’, that is, mechanically triggered by ‘outside’ phenomena, and not Divinely guided.
Interesting sidenote: Reaction and Creation have the same letters, just the C changes place.
This image shows the difference between someone whose attention is wandering and bound in distractions, and someone whose attention is mastered and surrendered at the Heart Source. It takes sincere and consistent self work to clear the energy field and master the attention, which is when the toroidal field becomes truly available.
So, I was so fascinated by this that i asked myself: OK, if every organism is an enneagram, or a toroidal field, then my body must be one too, right? So then, if my body is one, where do the 3 6 and 9 manifest in the body itself?
The answer came immediately, totally obvious.
The 9 is at the midbrain and above, the direct revelation of the Divine Intelligence.
And the 3 and 6 are located in the hands.
The alternating current through the hands (3,6) is how the Divine (9) manifests through us here on earth into tangible things that we create.
Just as the tritone in the Law of Octaves is the “lever”, or “spring”, that brings about the “shock” or changes necessary for organic growth, so too, our hands, guided by the Divine Guidance of our “tai ji pole”, or central channel, can create whatever is in our inner vision.
And perhaps too, we could find another 3/6/9 as well with the 9 at the hara, the lower dantien, and the 3 and 6 at the feet.
so, once again:
The 3 and 6 are the pulsation of Magnetism and the 1-2-4-8-7-5 is the flow of Electricity
So perhaps we could say the 3 6 9 triangle represents conscious creativity, and we could also say one cannot be truly creative, i.e. creational, until one can be perfectly still, and in total silence within. (9)
So if we watch the animation again we can notice what happens in the 3 6 9 triangle with the doubling process of the Rodin Vortex Math.
3×2 = 6
6×2 = 12, 1+2 = 3
So notice here, that 3 and 6, when doubled, simply turn into each other, back and forth, alternating.
then with the 9:
9×2 = 18, 1+8 = 9
Here, we see that 9, when doubled, constantly turns into itself. It is free from the entire dynamic of the rest of the numbers. So 9 represents the Self-Existing Transcendental Divine.
So with the 3 6 9 triangle in the animation we see the 3 and 6 changing polarities, and the 9 changing polarities. The 3 and 6 are synchronized, showing plus and minus at the same time, while the 9 shows the opposite polarity.
Marko Rodin has said that this alternating current flows through the triangle in palindrome fashion. That is, 693,396. Over and over again. When this is felt as fast as an electrical current, it has a very similar flow to AC, alternating current.
“When I am working on a problem, I never think about beauty but when I have finished, if the solution is not beautiful, I know it is wrong.” – Buckminster Fuller
The enneagram is also closely related to the ‘Lataif” which is an ancient Sufi system that has 5 colors, and corresponding qualities of being associated with them.
Each of these Lataif is a huge subject in itself. But suffice it to say, that it is through the heart’s emanations that these colors transmit, representing entire realms of experience, with distinct and different qualities. These are what will give our musical creative expression depth and diversity, but these qualities when fully integrated, will always express the diverse qualities of the Divine.
Emotional states like fear, anger, hatred, and the like are distorted versions of the Essential qualities of the Divine, such as Strength, Courage, Wisdom, Beauty, Power. It is through activating the Lataif, that these Divine Qualities can begin to manifest through the enneagram at the heart. So our music can express many diverse qualities, and colors, without broadcasting distorted low frequency reactive emotions into the energy field of the listeners.
Commonly, people say they love playing music because through it they can express all kinds of emotions. But honestly, do you want to LOWER people’s frequency, or do you want to raise it? Perhaps they think that if they express the Divine through their music, it will just have one bland ‘flavor’, with this mistaken idea that ‘all is one’ means that everything is homogenized into a kind of removed and numb state. A kind of New Age utopian view, which is a distortion of the truth.
This is obviously the idea of those who have never been ‘there’. When your whole body/mind surrenders into the Eternal Life Current, you will see, and ‘innerstand’, that for the first time you have access to the complete spectrum of essential qualities, which have a wide diversity of colors and tones of feeling, but at the same time, always remain connected to the Source Code of the Highest. Just as diverse as emotions, but always essential and whole. And those qualities are always in harmony with each other. Even seeming opposites can be clearly seen as complementary.
We can activate the lataif to express Divine qualities, such as peace, joy, strength, rather than distorted psychological complexes around toxic emotions, like anger, ignorance, aggression. The music will have much more beneficial energy and effect. I am assuming this would be most musicians’ preference, to have a beneficial effect on their listeners.
As an experiment, you can check any music against this chart of states of consciousness by Dr. David Hawkins, author of “Power vs. Force”. Where does the music resonate on this chart?
What makes a state ‘high frequency’? It means you have ‘thought it through’. You have contemplated both sides of the story a lot, which involves attention crossing the center line, ‘knitting together’ the opposites until unity dawns in you. One has to weigh both sides, sort wheat from chaff, constantly see both sides of the story, to arrive at a balanced and transcendent synthesis. In other words, it is going to require consistent and intelligent work on oneself.
Fusion, inner unity, is obtained by means of “friction,” by the struggle between “yes” and “no” in man. If a man lives without inner struggle, if everything happens to him without opposition, if he goes wherever he is drawn or wherever the wind blows, he will remain such as he is. But if a struggle begins in him, and particularly if there is a definite line in this struggle, then, gradually, permanent traits begin to form themselves, he begins to “crystallize.” – Gurdjieff
The caveat here is, the musician has to be embodying these essential qualities for them to be transmitted through the music. That means the musician will have to change, to grow, to wake up to the Divine within him/herself. There just is no other way. You will transmit yourself in the music. If you are limited by ignorance, and a lack of wisdom qualities, that is exactly what you will transmit.
Hence the need to master the instrument you overlooked, in your eagerness to get into the physical instrument outside of you, the piano, guitar, violin, etc.. And that instrument?? YOU. Your vehicle, your body-mind.
The upside? This process will unlock your original genius, and you will discover your own sound, tone, and style. For someone with their own sound and style, there is no competition. Competition becomes a non-issue.
Then, since in the Vortex math diagram, the center line is crossed lower, my take is that this doubling process is connected to the hara, which is to generate and regenerate life energy. The hara is like a battery which gives energy to the organism and stores energy as well. And, the hara, or lower dantien, is the vortex that connects us to the earth’s magnetic field (gravity).
So i am going to suggest that the Vortex Math diagram, at the hara, is more related to rhythm, energy, momentum. And the rhythm of music is what grounds it, gives it life, or pulse.
As in music, rhythm is all based on doubling and halving i.e.
Whole note = 1
Half note = 2
Quarter note = 4
Eighth note = 8
16th note = 16
32d note = 32
64th note = 64
per measure. Of course we have odd numbered tuplets, but they always have to fit into the doubling grid in some way.
One thing to notice about the waveform of higher frequencies is they cross the centerline, the ZERO, much more often than lower frequencies. So ‘crossing the center line’, in all of its forms (and there are many) becomes a key factor. I will be outlining some of the ways this happens when we get to the exploration of various practices to engage as we open the new way.
We can think of frequency, actually, as ‘processing power’. Consider for example the way we measure the processing power of a particular computer chip in GigaHertz. A 3.1 gHz computer chip puts the computer through 3.1 billion changes of state per second.
So that is actually a frequency. If we think of a sine wave form, we can see how it crosses the zero axis, or ‘center line’ so many times per second. And we can also see that the higher the frequency, the more times the wave form crosses the center line in the given unit of time (like per second). One Hertz is one complete cycle of the wave, from center line, above, to below, and then back to center.
So a frequency an octave higher will cycle through the center line twice as many times in the same space of time. Through this example we also can see how octaves ‘nest’ in each other.
But continuing the computer chip analogy, we see that the higher the frequency, the more processing power we have, the more detail we have available, even though the lower frequencies are still nested with the higher ones. This is how the harmonic series works. The harmonic series of any tone determines its timbre.
harmonic series: https://www.teoria.com/en/reference/g-h/harmonics.php
Therefore, even a lower frequency will have more detail, precision and color, when the higher frequency is nested within it. So as scalar beings, we will have much higher harmonics nested within the lower ones. We begin to feel ourselves extending upward harmonically, with higher octaves informing the lower octaves of our physical reality.
One application in music and rhythm of this principle is that even if we are playing a slow rhythm, or pulse, we can give it a much finer resolution just by keeping our frequency attuned to the higher one. So in our creative imagination will can be feeling the 32nd note level while playing quarter notes, for example. Even though we are not playing 32nd notes audibly, our ‘internal resolution’ can be working at that level, which will give a much deeper level of detail, precision, flow, and feel, because our awareness is at the much finer resolution.
I call this continuum.
So if we imagine whatever level of density we hear the pulse as a polygon within a circle, then for example a quarter note density would result in a square. A 16th note resolution would result in a 16 sided polygon within the circle, We double that, we get a 32 sided polygon. Double it again, we get a 64 sided polygon. And if we follow this out to its logical conclusion, the resolution will get finer and finer, and the polygon will have more and more sides, until, hypothetically, (though never, exactly) we end up at a circle.
So ‘converting’ the circle of infinite resolution, to a rhythmic pulse or pattern, is actually a form of squaring the circle. And vice versa: using infinite resolution within finite rhythms is ‘circling the square’ (or whatever polygon applies).
This infinitely fine resolution can be carried by the breath, our awareness, and in turn, our chi, which always follows our attention. This becomes like alternating current (AC), cycling back and forth so fast that it becomes a smooth flow of energy, which generates light.
We can imbue the music with this transmission of energy, if we are embodying it, and consciously breathing it. Even very slow music can have this fine resolution which amounts to a high frequency transmission.
This makes it so that even very slow music can actually carry a high frequency, which there again, is the responsibility of the musician.
So, as we activate our 3 6 9 triangle through the midbrain 9 connection to the hands 3, 6, this alternating current begins to circulate through our vehicle, as we play music, stimulating the two sequences simultaneously. One of regenerating rhythmic energy through repetition and doubling, (vortex math), at the hara, and the other through harmonic progression and infinite variety of the mathematics of the enneagram/law of octaves, at the heart.
We can see here more proof that rhythm is harmony, as we switch from the vortex math diagram to the enneagram and back just by exchanging 1 and 8, which to me symbolizes switching to a higher octave. And yes, in fact, when you speed up polyrhythms by doubling (which is actually moving them up several octaves), they become tonal intervals.
For a demonstration of this please watch: (my Fractal Rhythm video 1)
start at 6:50
In the hara is Revolution. In the heart is Revelation.
So we can create music that is at once, a revolution and a revelation !
From the center line comes the Inspiration, as we get into our vortex, our own spiral energy field.
When we are In Spiral, we are inspired.
The Crystal (Christ-al) Palace at the midbrain, the seat of pure Knowing, is where the creative patterning is received, as through a radio antenna, and then it is merged into the cycling toroidal revolutions in a way that the sacred geometric patterns inherent in the pineal/pituitary are given life, harmonic direction, and momentum as the three dantiens interact in the musical creative process. And, of course this creative force works through every aspect of our life.
©2021 Kit Walker all rights reserved. Please do not reproduce any part of this article without written permission. Linking OK with credits..
many thanks to the creators of the art and photos. Happy to credit or remove at the author’s request.