The Book Of THoTH

For some time I have been working with the chakras and I have seen a few different sound scales. I am curious to know if anyone is currently using a specific scale or even if you just have speculation to the correct one. The question is can there be a correct one? Im sure that different people probably have varying frequency resonations for different chakras depending on their spiritual progress. For instance lets say someones crown chakra is vibrating at 3 (this is an hypothetical example) their throat may be at 5, whereas another crown may be at 4 their throat may be at 3. Now I do understand that there are stones that are used to sympathetically match vibrations in the chakras and by that you may think a specific resonation is designated for each chakra. I would agree accept for the fact that there are many different stones that correspond to each chakra. One could assume that it has to do with the color frequency because that is more consistent than the types of stones used but here again we have varying traditions.So what I would really like to do here is develop a universal chakra correspondence with sound. One thing we have to keep in mind is not only do we have to have the correct key such as A or D ect., is the correct hertz. Currently most insturments are tuned to a 440 Hz scale. I dont like it. It previously was 432, now in Buddhas temple of countless statues we find that there are 432, I think that is a hint well taken . But if we take into account the changing aeon into the age of Aquarius we have no choice but to assume that the frequency is in a shift. How do we designate the new frequency? I have a speculation that the new frequency is 418 Hz. I say this strictly because of The Book Of The Law. Anyone familiar with Thelema will understand. Abrahadabra the reward of Ra hoor khuit. I know the phrase has much meaning outside of this but I do feel it incorporates it. So please anyone please help even if its only speculation.

have you seen this??

Worth exploring with your present journey into chakras... it could help you find a new way of experiencing these


[url=http://whozoo.org/mac/Music/]The duration of each note varies with the number of DNA codons associated with the amino acid. The DNA codons are represented by a harp playing the three bases of each codon under its amino acid. The last three codons to sound are stop codons and do not correspond to any amino acid.

The linear order of amino acids in a polypeptide is called its primary structure. Primary structure is represented in the protein data bases by a string of the single letters, like a long word or sentence. The order of letters is the order in which the amino acids were strung together when the polypeptide was synthesized. This order is specified by genetic information in the form of a string of DNA codons: sets of three bases from the four base DNA alphabet. Click here to see a Table of the Genetic Code. The letters below represent the sequence of human calmodulin. Calmodulin is a calcium-binding protein; the four calcium binding sites are underlined. [/url]



ore protein music

[url=http://whozoo.org/mac/Music/samples.htm]Protein Music Samples

Protein Primer:
A Musical Introduction to Protein Structure.
All of the music samples listed below were produced from protein and DNA sequences, using music software from Algorithmic Arts[/url]

[url=https://www.cassiopaea.org/forum/index.php?topic=3769.0]Clark said one of the more interesting things demonstrated by the music is the differences and similarities between the same protein of different species. While some proteins change very little between species, others, such as beta globin, are quite variable. Therefore, Clark said, by playing the beta globin song for a human and tuatara, an ancient three-eyed lizard, people can hear the process of evolution-a variation on a theme that was present before mammals split from reptiles some 200 million years ago."
[/url]


I think if you explore along this path you may find your own unique answer....may build on gathered knowledge....

add some numerology to the
equation.. google some on synesthesia...color therapy ( Aura Soma) and the old ancient eastern knowledge of chakras...


edited to fix url tags -- neb

Eclypse, have you ever read any of Jonathan Goldman's books? In some of them, he talks about how the optimal frequency for any given person is going to differ from person to person, because we all have our own unique vibration. I don't know if there is going to be one solitary, universal perfect "key" that is appropriate for everyone across the board. Some people may resonate just fine with A=440; for others, it may not be right. Everyone will have their own unique resonance.

When I had my first MRI scan, the technician told me the first part of the scan was the machine calibrating itself to me, "because everyone has their own personal freqency" (his exact words). I was tempted to ask him what my frequency was, but I chickened out, lol.

I agree with you for the most part nebula. I know that everyone does have a specific frequency of their own and that is supported by the fact that the geometrical formation of your chakras can become more complex than the original standard (we will say for example the double tetrahedron of annahata morphing into a more complex shape).


Not to be argumentative but I will have to disagree with anyone being a specific 440hz. If they were(there might be a few) they would already be tremendously effected by the music now to thee point they cant listen to it. I feel that it was previously 432 Hz and now were moving into a time where it will possibly be 418Hz.


What I seek to do here is create a master key to the energy centers. This can be done by finding the correct standard (not complex)geometry of every chakra and corresponding the key note and every other true correspondence to it. Anyone less advanced in their geometry will be brought up to par when going through the ritual.

Judging from historical musical instruments, the standardized pitch of A has been going up to where it is now (440 Hz). It was standardized at 435 Hz in 1885, so instruments made during that period now sound a little flat to modern ears. The U.S. adopted a 440 Hz standard in 1926.

A lot of musicians feel the pitch will continue to rise, since a higher tone sounds brighter and more appealing to the majority of people. It is interesting you feel it will fall to 418 Hz. Is there a reason you feel that particular frequency will become the new standard?

Until the 19th century there was no concerted effort to standardize musical pitch, and the levels across Europe varied widely. Pitches did not just vary from place to place, or over time—pitch levels could vary even within the same city. The pitch used for an English cathedral organ in the 17th century for example, could be as much as five semitones lower than that used for a domestic keyboard instrument in the same city.

Even within one church, the pitch used could vary over time because of the way organs were tuned. Generally, the end of an organ pipe would be hammered inwards to a cone, or flared outwards, to raise or lower the pitch. When the pipe ends became frayed by this constant process they were all trimmed down, thus raising the overall pitch of the organ.

Some idea of the variance in pitches can be gained by examining old pitchpipes, organ pipes and other sources. For example, an English pitchpipe from 1720 plays the A above middle C at 380 Hz, (info) while the organs played by Johann Sebastian Bach in Hamburg, Leipzig and Weimar were pitched at A = 480 Hz, (info) a difference of around four semitones. In other words, the A produced by the 1720 pitchpipe would have been at the same frequency as the F on one of Bach's organs.

From the early 18th century, pitch could be also controlled with the use of tuning forks (invented in 1711), although again there was variation. For example, a tuning fork associated with Handel, dating from 1740, is pitched at A = 422.5 Hz, (info) while a later one from 1780 is pitched at A = 409 Hz, (info) almost a semitone lower. Nonetheless, there was a tendency towards the end of the 18th century for the frequency of the A above middle C to be in the range of 400 (info) to 450 Hz. (info)

The frequencies quoted here are based on modern measurements and would not have been precisely known to musicians of the day. Although Mersenne had made a rough determination of sound frequencies as early as the 1600s, such measurements did not become scientifically accurate until the 19th century, beginning with the work of German physicist Johann Scheibler in the 1830s. The unit hertz (Hz), replacing cycles per second (cps), was not introduced until the twentieth century.

During historical periods when instrumental music rose in prominence (relative to the voice), there was a continuous tendency for pitch levels to rise. This "pitch inflation" seemed largely a product of instrumentalists' competing with each other, each attempting to produce a brighter, more "brilliant", sound than that of one's rivals. (In string instruments, this is not all acoustic illusion: when tuned up, they actually sound objectively brighter because the higher string tension results in larger amplitudes for the harmonics.) This tendency was also prevalent with wind instrument manufacturers, who crafted their instruments to play generally at a higher pitch than those made by the same craftsmen years earlier.

It should be noted too that pitch inflation is a problem only where musical compositions are fixed by notation. The combination of numerous wind instruments and notated music has therefore restricted pitch inflation almost entirely to the Western tradition.[citation needed]

On at least two occasions, pitch inflation has become so severe that reform became needed. At the beginning of the 17th century, Michael Praetorius reported in his encyclopedic Syntagma musicum that pitch levels had become so high that singers were experiencing severe throat strain and lutenists and viol players were complaining of snapped strings. The standard voice ranges he cites show that the pitch level of his time, at least in the part of Germany where he lived, was at least a minor third higher than today's. Solutions to this problem were sporadic and local, but generally involved the establishment of separate standards for voice and organ ("Chorton") and for chamber ensembles ("Kammerton"). Where the two were combined, as for example in a cantata, the singers and instrumentalists might perform from music written in different keys. This system kept pitch inflation at bay for some two centuries.

The advent of the orchestra as an independent (as opposed to accompanying) ensemble brought pitch inflation to the fore again. The rise in pitch at this time can be seen reflected in tuning forks. An 1815 tuning fork from the Dresden opera house gives A = 423.2 Hz (info), while one of eleven years later from the same opera house gives A = 435 Hz (info). At La Scala in Milan, the A above middle C rose as high as 451 Hz (info).



I would like to reference my last 2 posts to wikipedia.


My point is that the rising pitch of the recent past is of our own doing. I am only speculating that the pitch will drop to 418 because it will give a higher contrast in between our new physical frequency. I dont think anyone can truly know until it happens.

Do you feel there is anything significant about 418 Hz in and of itself (as opposed to, say, 417 or 419 Hz)?

To be perfectly honest with you no. Not outside the Abrahadabra concept. If you look at the tarot card judgment or the aeon in the thoth deck I think it gives at least a solid thought. Are you familiar with thelema? Any thoughts?

Sorry, I'm not familiar enough with those particular concepts to converse intelligently about them. But I have been privately experimenting with voice, sound, toning and chakras over the past couple of years, off and on, not following any formal path.

Been wanting to ask, but haven't found the right opportunity/forum, maybe this is the right place .....

Some music makes me euphoric.

It is as if it lifts me somewhat, yet leaves me with a craving for a far more intense experience of the "sample" euphoric feeling I get.

I get a sort of "consume/envelope" me in a far more intense feeling than the little bit I am experiencing now !!!!!

My apologies if I come across a bit wacko with the words and terms I have used, but using them to try and get some of the "feeling" I experience across.

Anybody experience this and if so what is it ?


Graham

Its your chakras being affected by the music. If I were you I would experiment with it more.

Thanks eclypse.

Please tell me more and how I would go about experimenting.

It is such a wonderful feeling, but leaves one craving/yearning/pleading for more !!!!!


Graham

http://www.crystalinks.com/chakras.html
This link will give you a brief introduction.
I direct you to this next link because it shows you the finger positions for opening chakras.
http://www.eclecticenergies.com/chakras/open.php
In the first link you will notice a chart of notes that correspond to the chakras. Download them on to a mp3 player or something you can listen to while you meditate, or better yet if you have a metronome so you can make the sounds yourself. Also crystal work is another tool you can use with the chakras, im pretty sure that the link has a chart. Sound and frequency are the ways into the chakras. There is much to the chakras but most of it is energy work and clearing blockages.

Thanks again eclypse

Think of anything else please send it on


Graham

Well.... 1 thing with the sound aspect of the chakras is frequency rather than note. You do need the correct note for the particular chakra but when you cycle through the first round try a different frequency with the same note. That is why I feel an instrument that you can change note and frequency on is essential. If you start doing this I would be very interested to hear your experiences.

Eclypse, I'm a little confused by your use of the terms "note" and "frequency." As I understand the terms, if you change the frequency you no longer have the same note. Middle C is middle C is middle C. Unless you mean the same note but in a different octave (double or half the frequency)?

actually yes, that is exactly what I was eluding too. I apologize for not being clearer. This exact concept is were the whole of my research is. Taking the chakras to the same notes on different octaves with frequency. I believe there to be certain frequencies for each chakra probably each on a different octave that when experienced may immediately clear the chakra. My view point from when I originally posted this have slightly changed. I feel that it is a possibility that the fibonacci sequence may somehow fit into this. As 4181 is f11.

I apologize I meant to say fibonacci 19 not 11. 4181 is f 19.

The concept of different octaves makes sense. It seems well worth exploring.

I have been experimenting little with it, alfa beta delta waves make one in different trans so brains can open one self to different conciousness.

I think shamanatic practises are at some extent just that, drums making you brain going transe so you can do spiritual journeys.

I have had discussions with someone through mail and that personend believed that spirits can choose some people to be shamans and if they dont get the message they can make that person go crazy or one way or another realise that he has that destiny, then also for spirits to make that transformation that person has to be NDE (near death expirience) so they could alter he soul matrix so it fits them so they can guide that person for healing and good..

But that was her point of view and that person was really convinced of hers facts and she also was a writer and well knowlegable in that practises and im not as much as i wish to be. But it did make me very interested in what she had to say and thats enough for me, tiny inspiration can grow to something beatiful


But what i want to discuss now is the feeling that some music and lyrics comes in special moments that makes you wonder if they are messages from above or if we are guided by higher powers.

All could be just a coinsidense but when it feel right in the heart then i guess its true for most of the time, well for me it is like that:D

Then ofcourse its not just in music the messages can be different in nature, all from nature to curtain texts you read to numbers, Synchronicity........ Not everyody want to see those messages. some people say that when ones third eye open then you stat seeing those kind of things.. not quite sure but intersting atleast.