A person must find a way to penetrate to the fundamental vibration, to their tone, and to start living from this. PrimaSounds provides such a way.
Introduction – Ralph Losey (1997)
PrimaSounds listening can accelerate the realization of full potential – all sides of the brain – in four important ways: Relaxation, Energize, Peak Experience and Visions.
This Online Book tells the full story of PrimaSounds, a new type of inner music based on a musical scale tuned to the human energy system. The unique PrimaSounds experience is a type of “vibration bath” which soothes the body, cleanses the soul and clears the mind. The book can be read before having the PrimaSounds experience, but in that case the reader’s gratification will be only intellectual. For those who listen to one of the three audio CDs now available of PrimaSounds music (Life Tuning, PrimaSounds, Gatekeeper), this book can lead to much more. (Editor’s Note: a fourth Album, Yoga Energy Meditations, was released in 2021, 24 years after this book, and this Album is now available everywhere. Another Album SPACED OUT, was released on November 7, 2022, also available world-wide). PrimaSounds can help the listener/reader to have a deeper hearing, to reach an understanding which includes not only the intellect, but also the body and soul, feelings, new sensations and awareness. You can learn how to use PrimaSounds as a tool of consciousness and human development.
PrimaSounds uses tone combinations based on a completely new musical scale invented by Professor Arnold Keyserling of the Academy of Applied Art, Vienna, Austria. The scale is tuned to the vibrational rates of the chakras, and for this reason is in resonance with them. Chakra is the name commonly used to identify the centers, or focal points, of the human energy field. They are the key energetical components of our being. Professor Keyserling discovered the exact mathematical frequencies of the chakras as part of his invention of this new type of music in 1971.
Since PrimaSounds move at the same rate — the same frequency — as the optimal rates of chakras, a strong resonance effect is created which increases the strength of the chakra vibrations. PrimaSounds push the chakras in the same way a child is pushed on a swing. Both depend on exact timing to make the swing go higher. If you push a child when they are still going backwards, you stop the wave. The swing stops. Only if you push just as the child has reached the top of the swing, and started to return, are you in resonance with the swing, and increase the wave. In the same way when a sound is in resonance — which means a matching frequency — the sound pushes at just the right time to catch the chakra energies, and make them go faster, just like the child. This is an oversimplification of the process, but Chapter 14 will go into greater detail of the physics. The illustration below shows the resonance on a child’s swing to help you better picture the idea.
After Arnold Keyserling made this discovery, we collaborated for many years to develop PrimaSounds and write this and other books in the School of Wisdom Series. Arnold Keyserling himself contributes three chapters to this book. These chapters were originally written in German in the early seventies, and then translated and edited over the years. Although most of the writing in this book is mine, many of the ideas are his. This book, like PrimaSounds itself, would never have been created without his guidance and inspiration.
This book provides the latest physical and metaphysical theories of PrimaSounds: how it works; why it works. We hope to provide the reader with a rational framework with which to understand PrimaSounds. Most importantly, we will share our ideas on how to use PrimaSounds as a practical tool. Professor Keyserling provides important historical background on this type of musical tool, and relates it to many of the world’s spiritual traditions. The reader will come to understand that the tones in this new scale are designed to be listened to and felt by the entire body, not just the ears. You will see that PrimaSounds music is not designed for entertainment, but to facilitate relaxation, enhance energy, and promote higher states of self realization.
The human stories behind PrimaSounds – how I came to meet Arnold Keyserling and his discovery of the chakra tones – is the subject of the Chapter One of this book. Keyserling essentially continues in modern form the ancient spiritual traditions of native wisdom – the “Wisdom Tradition.” By this we mean the spiritual traditions found around the world that pre-date Christianity and other world religions. A brief overview of the Wisdom Tradition is given in Chapter Two. Then in Chapter Three we explain how PrimaSounds are different from music and other sounds, and how they are used in different ways by the Wisdom tradition. In Chapter Four we provide the theory and practice of using PrimaSounds in a process of positive self transformation. We call this “Life Tuning.”
To be used effectively for Life Tuning PrimaSounds must be listened to in an entirely new way. Chapter Five gives detailed instructions in various listening techniques. In Chapter Six I give some background on how PrimaSounds music is created. Chapters Seven, Eight and Nine provide detailed information on the three CDs of PrimaSounds music, Life Tuning, PrimaSounds, and GateKeeper. In the next three chapters Professor Keyserling provides his explanation of the significance of PrimaSounds music and the seven chakras. He explains how PrimaSounds are tuned to our “chakras” and what this means.
Chapter Thirteen concerns the music theory behind PrimaSounds. The PrimaSounds scale is different from all others because it is attuned to the “seventh harmonic.” In this chapter you will learn what that means and how the scale was constructed. Chapter Fourteen concerns the physics of PrimaSounds. Here we offer our acoustic theories of how and why PrimaSounds work. We postulate a resonance effect between the sound waves and our electromagnetic bio-energies of the same frequency. Chapter Fifteen concludes with an explanation of the ultimate meaning of PrimaSounds – its true reason for being.
Four Sides of PrimaSounds
The basic premise of this book is that PrimaSounds listening can accelerate the realization of full potential – all sides of the brain – in four important ways: (1) relaxation and stress reduction; (2) enhanced energy and concentration; (3) peak experiences of inner knowing and unity; and, (4) visions — “higher dimensional discovery” experiences.
- Stress Reduction. The resonance properties of PrimaSounds relieve stress and facilitate relaxation. All you have to do is listen to these sounds in the right environment, without any rush or hurry. Then just let PrimaSounds help you to feel your body. This will put you into a calm, meditative state where you can let go of stress and anxiety. The music slows you down, allows you to go into your body, space out and relax.
This experience is open to almost everyone. You need only take time to let go of your inner chatter for a while, to open yourself, and allow the strong vibrations to flow over and through you. The negative energies, tension and stress then seem to dissipate automatically. You enter a more natural space-time which seems much slower, yet is actually in tune with the cosmos and body rhythms. It opens you to healing, feelings and rejuvenation. The soul is relaxed from the cleansing, at least for a time, until you speed up again, and the normal everyday demands and stresses of life return.
- Energize. After the relaxation stage, the second use of Prima Sounds is possible where you begin to sense your energies. You become aware of how PrimaSounds resonate and stimulate your bio-energies. These energies are called Chi or Prana in the East where they serve as the basis of Oriental Medicine. In the West it has been called the Aura, or Halo. With PrimaSounds you can have strong, direct sensations of these energy fields. Then you can begin to stimulate, open up, and balance your energies. Tuning into your energies in turn significantly enhances your ability to concentrate and focus attention.
With PrimaSounds you not only hear the chakras, you feel them, touch them – sense them on many levels. The sound vibrations massaging the body help you to focus in on the centers of subtle bio-energies – the vibrational whirlpools. PrimaSounds allow you to strengthen and tune your soul into the strong, primal vibrations of life. This allows the energies of the body to flow more naturally. The energy strengthening and smoothing helps some people to a healthier and more energetic life.
For most, success in the second level requires training, and assistance, or at least a strong background in related disciplines. With help, however, this second stage is not terribly demanding or difficult, and may be easier and more accessible than many other methods. Although a new discovery, many health care providers, psychologists, and spiritual teachers have already devised ways to integrate PrimaSounds into their therapeutic programs. We hope this book will stimulate more experimental applications.
- Peak Experiences. With even more training and practice Prima Sounds can be used to induce profound, peak experiences of self knowing and unity. These experiences have a sacred quality, and are essentially ineffable and mystic. They are the basis of what Aldous Huxley calls the Perennial Philosophy. Although beyond words, the people who have had this experience frequently refer to it as a deep inner state of self realization, a kind of thundering silence, with overwhelming feelings of joy and love. It is like an inner orgasm, where the original Big Bang of the creation of the Universe is remembered. It is also a wonderfully secure and loving experience of communion and unity with the entire Universe and the source of all being. It is a kind of a cosmic, religious, experience where you are one with the fundamental tone of the Universe.
Although most people require a great deal of time and effort to be ready for such a strong experience, if you are ripe, PrimaSounds can help get you there. It does not induce the experience, it just helps you let it happen.
Once you have such a peak experience, and the knowledge of pure Awareness which it brings, Prima Sounds can begin to fulfill its highest potential. It can serve as a tool to help in the full integration of consciousness. This is a process we call Life Tuning which is described in Chapter Six. Profound understanding develops, and ever stronger energies are released and absorbed as you find your meaning in life and begin to fulfill it. Then, as your life is transformed and filled with spirit, a fourth usage of PrimaSounds may develop. You may begin to receive ever clearer visions of who you are and why you were born. Easily and naturally you become open to community and help from the beyond. You become a Being in the Universe.
- Visionary Experiences. For a few listeners PrimaSounds can evoke strong visionary and “other dimensional” experiences. The vibrations and mood created by the music can open doors to other worlds, alternate realities and altered states of consciousness. It can facilitate the Shamanic journeys reported in most traditional and aboriginal cultures of the world. The listener can choose to walk through these doors (or not), to have an adventure in these other worlds, communicate with other beings and entities, and return.
Although this aspect of the music is present on all three of the audio CDs now available, it is emphasized in the latest CD, GateKeeper. As will be shown in the chapter describing this CD, GateKeeper is based on the Shamanic journeys and five-fold magical cosmology of the Dagara Tribe of West Central Africa. They are described in the books of our friend and colleague, Malidoma Patrice Somé – who is both a Shaman of the Dagara, and holder of two Ph.D. degrees – and that of his wife, Sobonfu Elizabeth Somé, a great shaman in her own right.
The higher potentials of Prima Sounds – beyond using the music for energy, health and relaxation – are not obvious, and could be missed without some explanation. Although stress, tension, disharmonious energies, sickness and disease are major problems in themselves, they are just symptoms. Many people are coming to understand that even if these sicknesses are healed, different illnesses will later manifest unless and until the root causes are addressed. The ultimate cause of these ills is not physical, or even energetical and social, it is spiritual. It comes from a lack of meaning, purpose and real community. It comes from mistaken ideas and beliefs, such as ideas about who you are, or how you should spend your time. When your spirit is out of alignment, a host of illnesses and other problems are sure to follow.
PrimaSounds listening, either alone or in groups, can be a useful tool to help heal your spirit. It can help you tune into your true spirit, to know yourself and why you were born. Only in this way can you be truly at ease with yourself and the Universe. Then all “dis-ease” will go away naturally and permanently.
The third and fourth stages of peak and visionary experiences can help you to remember your meaning and purpose in life. As you remember why you are here, and the gifts you have brought for this world, PrimaSounds can also make it easier to stay in touch with the other beings in this Universe who would help you – your friends and spiritual allies. When you are in dialogue and communication with others, your ideas and concepts are naturally refined and improved. You come ever closer to the truth. Your understanding and ease matures and grows. Your spirit shines and its health flows into your body and soul.
Wisdom does not only come from finding your vision and knowing your strengths, but also from the realization that we are part of a greater whole. Each of us has limitations as well as gifts. None of us can make it on our own. Our unique talents, our personal vision, is part of a larger vision, a larger undertaking beyond our temporal grasp.
The help of beings in all dimensions of reality is needed by everyone. All spiritual traditions teach that we need friends here on earth, and in the beyond. Only with their help can we share our special gifts and carry out our mission. Everyone on a spiritual path necessarily receives and gives help to many. Community is indispensable. We need a living communion, not only with each other, but with the whole earth, nature, and beings in all dimensions, all over the Universe. When we participate in such a community, we can fulfill our highest visions. We can prosper spiritually, with good health naturally following. This book/web, like the music itself, is created to help you find your vision, and tap into the courage and community needed to carry it out.
CHAPTER ONE: The Personal Stories Behind PrimaSounds
The once lost chords are back again to sing the body electric!
I first started hearing tales of a secret music with magical powers about the time I left home for college in 1969. When I started college I was an 18 year old, straight, golfer type with a passion for reading. But soon the times swept me along, my hair grew and I started opening up to many new things. I quickly became fascinated by Eastern philosophy and other “far out” books. I read of occult traditions in the West, such as the Pythagoreans and the “Music of the Spheres.” I learned of India’s God named “Krishna” who played magic healing music on a flute. In Tibet there was the spiritual power of the Lama’s chanting “OM.” The bible spoke of the horns of Jericho bringing down the walls of an entire city. Some occultists claimed the Egyptians used sounds to build the Pyramids. In Greek mythology the music of Orpheus raised the dead, tamed wild beasts, and soothed the troubled soul. I was fascinated by these legends of advanced knowledge and magical music.
Searching deeper I found reports in anthropological literature from native cultures all over the world of the Shaman’s drum as a doorway to the spirit world. Like many I read with fascination the books of Carlos Castenada, and his reports of opening these doors with drugs. These reports seemed credible, and hinted at a profoundly different understanding of reality and music. I began to believe that there was more to this than myth and legend.
Like most teenagers of the day, the music scene was a strong force in my life. I didn’t just read about music. I listened to it, constantly. My whole generation was obsessed with rock and roll. It united us and gave us a new common identity. We all seemed to be going through changes together that were helped along by the music scene. Like many others, I experienced first hand the power of popular groups like the Beatles and the Rolling Stones. One of my favorite groups, The Moody Blues, even sang about the quest for magic music in their album In Search of the Lost Chord? This was an important album for me, but I never seriously thought the search would become my own. Little did I know that in just two years I would travel half-way around the world to find these chords, and then spend the next twenty years figuring out how to use them.
The Fall of 1969, when I first discovered The Moody Blues, was my freshman year at Vanderbilt University in Nashville, Tennessee. I was away from home for the first time. Buffeted from all sides by a hundred new experiences, ideas and questions – I was confused. Those were crazy times. We marched in protests against the Viet Nam War down the main streets of Nashville. Police on motor cycles “shot the bird” at us, cussed and called us names. We yelled back to Stop the War, Now! My friends were being drafted and sent away to Viet Nam. Many would never return. My draft number was 135. Like everyone else, I heard it for the first time by listening to the lottery on television. In those days your draft number was your fate. A high number meant you were in luck and would not be drafted. A low number meant a certain draft, and a very uncertain future. One hundred and thirty five was a medium low number. It meant that I would probably be drafted as soon as I graduated in 1973. The rice fields in Nam loomed as a very real possibility.
All around me there were protests, counter-culture, drugs, radical politics, and long hair. Some of the students started calling themselves hippies. I was a freshman in every sense of the word. I didn’t know what to call myself, who I was, or what to do. My consciousness was expanding, my head exploding. I didn’t really have a clue. Like everyone else, I just kept going to classes, glad to have a student deferment from the War.
Then everything changed on a cold Winter night in 1969 when I encountered a strange man in a white robe, long hair and beard. He was outdoors talking some sort of mystical gibberish. A small group of students were listening, some were arguing with him. The words he spoke made no sense on one level, and my friends and I made fun of him. But on a deeper level he touched me in a profound way. My friends left, but I stayed to listen, not understanding why. I had an unexplained fascination with the being behind the words. His presence was tangible, somehow sacred, but not stiff and religious. There was a charisma about him that touched me on some as yet unexplored level. The man called himself “Ram Dass.”
Ram Dass had been known as Dr. Richard Albert. Like Timothy Leary, he had been a professor at Harvard and had advocated the use of LSD. By the time we met he had broken with Leary, and was returning from India. Vanderbilt was one stop on his tour of college campuses to share the insights of his new Guru. Ram Dass spoke of the mystical experience of God as the true meaning of life. The man with the intense eyes and white robe preached spiritual practices as the natural way to get high, a safe alternative to drugs. He took my name and address and I later received a free hand-bound copy of his book Be Here Now. My life was forever changed. A spiritual journey had begun.
The encounter with Ram Dass marked the beginning of my personal awakening. The words of the Moody Blues, the Beatles, and others took on new meaning. I discovered others in the so called “counter-culture” that were on a similar trip. We were moving from materialism, to political protest, to an inner quest for meaning – tripping on a “far out” search for true identity. Like everyone else, I was far from finding myself, but had at least begun the search. Reading and experimentation with awareness and meditation became my primary focus. All my extra money went into “weird books.” My compulsive book buying so impressed my father that three years later he quit his job as a stock broker and opened a book store. I was on a Path, searching for truth, with no clue where it would take me. Since I played no musical instruments, the last destination I expected was the lost chord. To me this was just a Moody Blues song, one far off dream among many.
Like Ram Dass, I assumed my answer would come from a Guru in India wearing a white robe. Life in Nashville was too confined, the professors too academic and sterile. I grew tired of the political protests that seemed so pointless and futile. It was then 1971, the draft and the War were in full swing. My student draft deferment ended in 1973, and senseless death in Viet Nam loomed like an ominous cloud. Adventure and dramatic change called out to me, but at the same time I feared it. Intuition told me that my truth – my destiny – had to lie somewhere else. Nashville was oppressive. I had to get away. Something clicked inside me. One thing led to another, and before I knew it, the Institute of European Studies in Vienna, Austria had accepted my application. My journey to the East had begun. I had no idea where it would take me. I was not even sure I would return.
The journey began with a chartered flight of seventy or so students from all over the country who had enrolled in the same junior year abroad program. When we stepped off the plane in London we were greeted by a series of large signs that read “Way Out.” My new friends and I laughed and said “far-out.” Later we learned these were the British equivalents of “Exit” signs. We all saw this as a funny omen, for we were all searching for a way out, in one way or another. A way out from the draft, the War, the discord and protests, our own confusion and self doubts. After a short bus tour of Europe we ended up in Vienna. What a strange and dreamlike place that was
The City was big and unlike any place I’d ever been. It was filled with palaces, opera houses, and the faded glory of Hapsburg Emperors past. Most of the Viennese were not friendly to young, long haired Americans like us. They hid behind a thick veneer of politeness. The sing song kind of German they spoke was totally incomprehensible to me. I truly felt like a stranger in a strange land. I’ll never forget my visit to the oldest building in Vienna on one of our first days – St. Stephens Cathedral (shown right). It is the eight hundred and fifty year old landmark of the city located in the center of downtown. We took a tour down into the immense catacombs underneath the church. It was damp with cool air and a strange musky smell. We came upon room after room filled with the skeletal remains of Viennese who died in the Plague over a thousand years ago. Bones were piled on top of bones, filling ten foot high rooms. The skulls stared out at us, like unfriendly intruders, into the ancient tragedy of their horrible deaths. The city was filled with ghosts, with reminders of the past. Echoes of World Wars I and II could be seen everywhere. Little old ladies called “House Fraus” were all over the City, dressed in black, still mourning their husbands killed in the War.
It was a strange kind of a dream, this city. To make matters even weirder, for the first time in my life I had fallen in love. Not with the city. No. It was much worse. I had fallen in love with a girl, a classmate from Miami Beach named Molly. Like me, she shared a thirst for spirit and higher consciousness. We started a path together which we still share to this day as husband and wife, and parents of two children. But that’s a different story……
She was the first one to tell me of a strange professor at our school, the Institute of European Studies. Unlike all of the other faculty, he was a local, a Viennese professor, not a transplanted American. He was at the Institute teaching Americans by a fluke of chance. The regular philosophy professor was on sabbatical leave that year, and so they found a local substitute. I was suspicious of any academic philosophy teacher, but friends had heard him, and said he was talking my talk.
I sat in his second day of class to check it out. I found a giant among men in every way. He was large in height and build, with a grey beard. He spoke an elegant English with a strong British/German kind of accent. Like Ram Dass his words found an inner echo in my soul. He had a special presence and inner power. His name was Arnold Keyserling. He was a Professor of Spiritual Philosophy at the Academy of Applied Art. He also taught at his own private school. He had written dozens of books and seemed to be a veritable encyclopedia of knowledge, especially of ancient history and esoteric philosophies.
Like Ram Dass, Arnold Keyserling was a spiritual being with great knowledge and wisdom. Also like Ram Dass he had a beard, but there the similarities ended. Keyserling wore street clothes, not a white robe, and was a sophisticated, urbane professor. He awed us all with his incredible presence, wisdom and mesmerizing speech. I had learned a lot in the two years since meeting Ram Dass, but I was still searching for a quick solution. I wanted to merge with God, to be at one with the Infinite and stay there. I began to hope that Keyserling would be my Guru, that he would help me to reach the highest levels of consciousness, or lead me to someone else who could. I was attracted to him and feared him at the same time. He seemed so powerful, so all knowing. Gradually I built up my courage to approach him after class, to tell him of my search for a Guru and dreams for Nirvana. Gently, but firmly, he helped me to understand my own delusions. Keyserling was no one’s Guru. He refused to allow me to put him on a pedestal. I learned that I should be my own Guru. My love should go to my girl friend, not him.
At first I was bewildered, hurt and confused. Slowly, I came to understand that I had been trying to run away from myself, to escape reality. I was pursuing a kind of father substitute in the city of Freud. I started to realize that no one can, or should, provide me with the answers to my deepest questions, that I would have to do that for myself. Keyserling provided me with something far more valuable than the answers to my questions. He taught me how to go about finding those answers for myself. He taught me how to think holistically. I didn’t understand it then, but he spoke to both my right brain and my left brain. Keyserling somehow managed to take my youthful adulation, and channel it into work and self-confidence.
Soon, by late 1970, I started to help organize classes in English at his private school, called the Criterion. There he taught his philosophy openly, whereas at the Institute it was hidden between the lines of teaching the work of other philosophers. A group of around 20 Americans ended up studying with him and his wife, Wilhelmine Keyserling. She insisted everyone call her “Willy.”
She taught us Hatha Yoga and meditation. Arnold and Willy together taught us their unique philosophy, which they called The Wheel, and also taught the I Ching. They taught the criteria of objective thinking. I was so charged up after the first semester, I had the audacity to ask Vanderbilt University if I could drop all of my other classes, leave the Institute of European Studies, and devote my full time studying directly with Professor Keyserling. Amazingly, they approved the idea, and upon my return to Vanderbilt the following year, even awarded me 21 hours of “A” accreditation for the semester of independent study.
Most of the classes and events at the Criterion were all in German, of course. Unfortunately, this was a language I understood poorly, if at all. But still the people I met there, most of whom spoke English very well, buoyed my enthusiasm. They were unlike the hostile Viennese on the street. Keyserling’s students and friends were wonderfully strange and avant guard, yet genuinely spiritual. We talked after the classes and I got to know a few of them. Some were obviously well along on their path, far ahead of me. They had used Keyserling’s ideas and thinking methods to get their heads and bodies together. I saw for myself that a Guru wasn’t necessary. In fact, it was a hindrance.
At the Criterion there was another way for knowledge to be passed on from one generation to another. It was a totally new and different way from the religious and authoritarian traditions I had been reading about. It was a way based on friendship. It was horizontal, not vertical. Arnold Keyserling was both a teacher and a friend to his students. All recognized their basic humanity. It was a kind of spiritual democracy. Slowly, I was able to stop calling him Professor Keyserling, and began using his first name, Arnold. Only at that point was I truly enrolled in the Criterion.
In late Winter of 1971 something totally new happened. I didn’t know it at the time, but for the previous 35 years Arnold Keyserling had been actively searching for the lost chord. The Moody Blues’ fantasy was a poetic echo of his real life. He announced that he had invented a new type of musical scale and actually applied for a patent. He explained that his invention was a re-discovery of a long lost scale, and that it was based on mathematics. He then created an electronic instrument specially tuned to this new scale which he called the “Chakraphone”. Everyone at the Criterion was talking about this, and the math behind what Arnold had done. We were told the first public demonstration of the new music would come soon.
My girl friend and I were the only Americans invited to attend the first performance of the long lost chords. A group of thirty or more people crowded into Wilhelmine’s yoga studio. We all sat on the floor, mostly in lotus posture, and prepared to hear the new music. Arnold began with a short explanation about the music which he called Introversive Music or Chakra Music. Naturally, I understood almost nothing of Arnold’s German talk. Then, we all closed our eyes and waited in silent meditation for a few minutes until Wilhelmine began to play the Chakraphone. The floor vibrated as low and strange tones began to sound. I felt a buzz, both in my head, and in parts of my body. It was smooth and easy, yet powerful and certain. The seven chakras vibrated intensely, and I sensed them clearer than ever before. I went into a deep and profound meditation. It was an altered state like with a drug, but clear and not groggy. I have no idea how long she played. Time was gone. The moment lasted forever.
We all came out of it easily, feeling great. Everyone in the room was relaxed, “stoned,” yet wide awake and in touch. In the vernacular of the time, the good vibrations literally made us high. Later I learned this was a natural resonance effect of the tones themselves. It was an amazing phenomenon, considering we had just heard the seven chakra tones, and a few simple chords. It was the deepest group meditation I had ever experienced. Everyone there was in an energized and profound state. Although the first musical instrument, the chakraphone, was crude and simplistic by today’s standards, and the playing of a few chord combinations could not really be called music, everyone was “psyched” about the possibilities of this new scale. Many realized the importance of Keyserling’s exact mathematical calculation of the vibrations in resonance with the human energy field – the chakras. I could feel the excitement, but at the time, due to the language barriers and my limited knowledge, I didn’t comprehend the full significance of the event.
Later I realized that this was a once in a life time opportunity for me, a perfect example of being in the right place at the right time. For Arnold, the discovery of the lost chords was enough. It was the end of the journey for him, not the beginning. He was not interested in playing the chakraphone or learning how to create a new form of music with it. He was a philosopher and mathematician, a student of music theory and esoterics, not a musician. Likewise, his wife, Wilhelmine, was a yoga instructor, not a musician or therapist. They both were very busy and had other fields to plow. Arnold simply announced the discovery of the new scale, published a pamphlet about it, and left it to others to take up the challenge and make something out of it. The once lost chords had been found by Arnold. But it was up to someone else to play these chords, to fulfill the potential of his invention and create a new type of music with these tones.
At the time I had no idea that person would be me. I seemed the least likely candidate. I spoke no German, didn’t understand the explanation of the music, hated math, and barely knew what was happening. Worst of all, although I loved music, I played no musical instruments. I felt I had no talent. I was the new student, on the edge of things. There seemed to be many more people more qualified than me for this work. Arnold’s life story was unknown to me then. Only later did I learn how he had searched for this lost scale for years. His story is fascinating and strange.
The fulfillment of Keyserling’s dream in 1971 did not come easy. He had been searching for this scale for over thirty years. As a young man, Arnold, like me, had been intrigued by the myths of a magic music. He too became convinced that there was a kernel of truth behind these stories, that such a music must once have existed. Arnold Keyserling seemed destined by birth for this search. He is the seventh generation in a line of philosophers, whose ancestors include the Keyserling who commissioned Johann Sebastian Bach to write his masterpiece the “Goldberg Variations.” His father, Count Hermann Keyserling, shown below, was a famous philosopher in the nineteen twenties who wrote a best selling book The Travel Diary of a Philosopher. On his mother’s side, Arnold is the grandson of Chancellor Bismarck.
Arnold was raised in his father’s Institute, the School of Wisdom, which was founded in Darmstadt, Germany in 1920. Arnold grew up around the spiritual leaders of the day who attended as students and guest speakers. The teachers included psychologist Carl Jung, novelist Hermann Hesse, translator of the I Ching and sinologist Richard Wilhelm, and Indian poet Rabindranath Tagore. Count Keyserling thought of himself as a conductor of ideas. He organized the symposiums at his School of Wisdom as if they were symphonies of the mind.
When the Nazis assumed power, they closed the School of Wisdom and persecuted the Keyserling family. Young Arnold grew up as a teenager in Germany under horrible conditions. He was bullied and teased by the other kids for not fitting in. He retreated further and further into his inner world. He lived a life apart, an inner dream world of mystic fantasy and myths, while the outer world nightmare of Nazi Germany raged all around him. It got worse. He was kicked out of law school and drafted into the German army. He kept failing boot camp, but was ultimately forced to serve as a private translating radio broadcasts. Near the end of the war, he deserted and sought refuge in a Canadian prisoner of war camp.
Amidst all this suffering and tragedy, Arnold had several overwhelming and spontaneous experiences of deep spiritual realization. During one peak experience he felt as if he were tuning into the fundamental vibration of the Universe. It was a musical bliss. He assumed there must be a way to induce this state intentionally by using music. None of the musical scales and notes he had found could do it. Still, he felt sure that other, yet unknown notes, could be found to do the job. He felt sure this knowledge had once existed, and could be found again. His search for the lost chord began in earnest. Rather than pursue material wealth and a career, he decided to devote his life to search for these tones and the knowledge behind them. When the War finally ended, and his enemies were defeated, he began to search in earnest for the lost chords and the knowledge behind them.
There are hundreds of millions of different notes and scales possible within the range of human hearing. For that reason Arnold ruled out trial and error as a method of finding the lost chords. Anyway, that was not his style. He was a dreamer, a scholar. He was never a tinkerer. He loved mysteries, not experiments. Since he was convinced this knowledge had once been known, he assumed that traces of the lost wisdom could still be found. Perhaps someone somewhere still preserved the knowledge in secret.
His search took him to Paris where he and his wife to be, Princess Wilhelmine, studied with the famous Russian esoteric philosopher, George Gurdjieff. Many people know of the mysterious Mr. Gurdjieff from reading the book about him by one of his early disciples, P.D. Ouspensky, entitled In Search of the Miraculous, or one of the many other books about him. Gurdjieff had traveled widely throughout the Mid-East and central Asia in pursuit of hidden knowledge. He reported having heard a special music among the legendary Sarmoung Brotherhood which was used for healing, psychic control and the induction of mystical states of consciousness. Gurdjieff taught Arnold some of the principles of this esoteric music, and some of the secrets of the Sufis and their music. But the exact science, the mathematics of the tuning of the tones, was unknown even to Gurdjieff.
After Gurdjieff’s death, Arnold lived at John Bennett’s Institute in England for some time. There he had another overwhelming transcendent experience. It happened when he was doing certain consciousness exercises and trying to, in Arnold’s words:
to hear all noises simultaneously and to listen behind the Universe. With one stop I attained a state of unbelievable joy. This moment of hearing everything was quickly over, but for several days I could see and feel the source of all people present. I went around the subways of London just to ‘read men’. For the first time I understood what real communion meant.
At that time Arnold had a rock star look and was talented at the guitar and singing, as the rare photo of him from that time shows.
After Bennet, Arnold moved to Austria where he heard about an incredible composer living in Vienna – the home of all great Western Music traditions – who was also a mystic and a “mad saint”. That man was Joseph Hauer, who was the founder of modern 12 tone music. Hauer, who was then in his eighties, had enormous piercing eyes and long white hair. Arnold moved to Vienna to study with Hauer, but once there, he learned that Hauer would only accept trained musicians as students. Although Arnold liked to play guitar in pubs around Europe, his classical music skills were weak. So before he approached the great music master, Arnold immersed himself in improving his piano skills and knowledge of music theory.
Finally, Arnold approached Joseph Hauer and asked to be his student. Hauer agreed after he learned of Arnold’s background and search, and association with Richard Wilhelm. Wilhelm was the great German sinologist who had translated the I Ching. Unbeknownst to Keyserling, Hauer and Wilhelm were good friends. Wilhelm had taught Hauer all about the pentatonic music of ancient China. Hauer was the first western composer to be deeply influenced by Chinese traditions. Unexpectedly, Keyserling was introduced to both western and eastern mystical traditions of music. From Hauer, Arnold learned how music can be used as a doorway to mystic experience, to God. Still, even Joseph Hauer did not know the whole secret. He did not know what pitch would unlock the doors of perception. No one seemed to know.
The Keyserlings then went to Italy, the home of Pythagoras, the fabled founder of both mathematics and music. In Positano, Italy he immersed himself in the study of number and its relation to tones and spiritual traditions. Arnold hoped that mathematics might provide the solution. In his pursuit he met the great scholar of esoteric music, Hans Kayser. He was of some help, but still there were no definitive answers. After a few years in Italy, Arnold was convinced that no one in Europe had the information he needed. He would have to journey to the East, to the home of all mystery traditions – India.
So once again, Arnold and Wilhelmine left everything and moved, this time to Calcutta, where they lived for five years. While teaching German and Philosophy in Calcutta, Arnold traveled throughout the East, searching for hidden knowledge of this lost music. He met many gurus and learned of the original cosmic chord from which all of reality is supposedly derived, the “OM”. He became friends with Indian musicians like Ravi Shankar and Ali Akbar Kahn. The musicians of the East taught him alternative tuning systems and rhythms completely unknown in the West.
Many extraordinary things happened to Arnold in India, but perhaps the most incredible event occurred while he and Wilhelmine were vacationing in Kalimpong. This is a village the English had annexed from Tibet before the Chinese takeover. There they heard that the hereditary King of Tibet, whose name was “Gesar-Ling”, was living in this village. His name sounded curiously like his, and so he jumped at the opportunity which later presented itself to meet the exiled King. When they met, King Gesar-Ling immediately said: “same bones, different flesh”. The two tall men realized that they bore an extraordinary likeness to each other. The King told the legend of the first King Gesar-Ling, a legendary figure from the West who conquered all of the local kings and became ruler of all of Mongolia and Tibet. King Gesar-Ling was considered in Tibetan lore to be the “Father of Tibet”, a Saint who established the religion of the Tibetan Wheel. This Wheel has three writings on it: inside the Wheel are the nine numerals in the magical square where every sum is 15; around this are the 8 trigrams of the I Ching, then around that are the twelve Chinese zodiacal signs. Even today many Tibetans still wear the Wheel on their belt.
The King told Arnold that according to family tradition some family members had migrated West, some as far as Germany, but he had never known what Germany was like. Arnold told him and the King seemed satisfied that his branch of the family had stayed in the East. Arnold’s family link with Tibet came as a complete surprise. Later Arnold became skeptical of King Gesar-Ling’s claims about the ancestral King of Tibet, but his subsequent research in Calcutta showed that his claims were true. The famous Tibetan scholar, Alexander David Neel, had written a book called, The Strange Story of Gesar Ling, all about the myths of the legendary founder of the religion of the Wheel.
Arnold Keyserling’s destiny in Tibet and central Asia became apparent to him then. He immersed himself even further in the study of esoteric eastern philosophies, particularly that of the Tibetan Wheel. Keyserling later modified this Wheel to become the symbol and corner stone of his philosophy. In India Keyserling also learned much more about the Chakras, the seven vortexes of energy that make up a person’s aura or soul. He and his wife eventually became adept at Yoga and the various forms of meditative arts which permeate all of Indian music and religion. But the answer to his quest of the lost chord still eluded him.
In 1962 the Keyserlings returned to Europe, eventually to settle again in the cradle of Western Music – Vienna. There, even though Arnold had never earned a Ph.D. under the Nazi regime, he was able to secure a post as a Professor of Spiritual Philosophy at the Academy of Applied Art. This was primarily due to his impressive mastery of the history of philosophy.
Over the ensuing years he developed his own unique style of “planetary philosophy” which incorporates the belief systems and traditions of the whole world, both East and West, ancient and new. His philosophy of “The Wheel” uses holistic thinking to find the common denominators behind all traditions and philosophies. He has written numerous books about it in German. Within the Academy his “New Age” type of philosophy created substantial controversies over the years. Several times the academic establishment tried to remove him from his coveted Professorship position, but each time the students rallied to save him. He survived the many criticisms and remains today as one of Europe’s only Professors of philosophy with a decidedly non-academic orientation. In his University career spanning more than 30 years he has influenced thousands of European students, many of whom have gone on to become important artists and artisans.
Outside of academia Arnold traveled widely and taught at many workshops, congresses and spiritual retreats. Arnold’s pioneering activities led him into spiritually based psychology, now called Transpersonal Psychology. This eventually led to his becoming the President of the European Association of Humanistic Psychology. Moreover, Arnold continued his father’s tradition of the School of Wisdom, although frequently under other German names. For instance, when I was in Vienna in the early 70s the name used was Criterion. Today Arnold and his wife, Wilhelmine, continue to teach The Wheel, yoga and meditation both inside and outside of the Academy. Over the years they have become a kind of cultural institution in Vienna with a strong influence upon many people throughout Austria and other parts of Europe.
All the while Arnold continued his research and investigations into the obscure origins and laws of mythic music. He learned many of its secrets: he knew its history in ancient cultures, and many of the laws of vibrations and consciousness. Still, the exact tuning of the notes of this music eluded him until the period when I came to Vienna in the Fall of 1971.
At that time new discoveries in the field of brain wave research had just provided Arnold with the last missing pieces to the puzzle. EEG measurements of Zen monks in the peak experience of Satori, and yogis in the deep meditative state of Samadhi, showed that the alpha brain wave – 12 cycles per second – was always produced when they attained peak awareness. Now he knew what the fundamental tone should be for his scale calculations.
The scale itself was based on the one tone interval which doesn’t fit into the western music system, the 7th harmonic of the overtone series. This is further explained in Chapter 13. Arnold had long suspected that the seventh harmonic, corresponding analogously to the seven chakras, might hold the key to the lost chords, and perhaps even to the chakras themselves. He knew that when the acoustic seventh is taken as the basic interval, to the exclusion of the other musical intervals which normally make up our musical scale, a completely different five tone musical scale results. The scale has different intervals (distances between the notes) and tones than any other scale, even other five tone scales. But still, Arnold did not know what frequency to use as a basis for the construction of such a scale, nor was he sure what the correlation would be with these tones to the chakra energies. This is where the brain wave research provided the answer. Mathematically when 12 hertz is used as the base value — the ground tone — the 7 to 4 ratio of the 7th harmonic produces a pentatonic scale in tune with the frequencies of the chakras. With some temperament to adjust the octaves a totally new musical scale results. Keyserling named the five notes of this scale after the vowels: A, E, I, O, U.
Arnold then commissioned an engineer to construct an electronic organ which could play these precise tones, and no others. When Arnold played this specially modified electronic organ in late 1971, and heard the new notes for the first time, he immediately knew that his search was over. At last, he had found the secret tuning. To the trained ear the tones were completely different, so too were the resultant tones created by the new pitch combinations. The sounds had new acoustical properties and tone colorings. Arnold found that these new tones altered his consciousness, and pushed him within. The chords produced a deep inner Awareness, and allowed him to attain this state in a matter of minutes, instead of hours. Arnold confirmed with his own ears and energies what he had long suspected. The reason these lost chords had these dramatic effects, whereas other tones and scales did not, was that these tones were exactly tuned to the seven Chakras. His discovery of the lost chords was at the same time the discovery of the frequencies of the chakras themselves! This was the “magic” behind the music of the myths. It was tuned to the body’s energy field. For that reason he called the new sounds “Chakra Music” and the musical instrument the “Chakraphone.”
After I first heard Chakra Music my enthusiasm deepened. I was determined to understand everything Arnold and Wilhelmine were trying to teach me. I slowly realized the magnitude of Arnold’s achievement. After yoga classes they allowed me to experiment with the Chakraphone. I’ll never forget the first time I played it, sitting on the floor, alone in the empty darkened room. I felt like the magician’s apprentice left alone with the magic broom. I was playing with powers I but poorly understood. Touching the keyboard, hearing the strange sounds it produced, sent me into another world. I was still in this world, but not of it. I was in all worlds – the Universe of the vibrating joy linking all beings. The Shaman’s gate was opened, but without drugs. It was a natural high – the essence of good vibrations. I became hooked on Chakra Music and its effects. At the same time I started getting clues that Chakra Music might be the key to my unique potential. I began to think that my destiny was somehow tied into Arnold’s, that the end of his quest was the beginning of mine. Our visions overlapped. Omens and agreements, coincidences, and other unexplainable and wonderful things started happening to point me in this direction.
I will never forget one event that occurred in the middle of the night in my small dorm room in Vienna. While meditating in complete silence, I had an incredible experience of hearing a kind of ever changing sequence of tones. The tones seemed to be coming from deep inside my ear, and yet from outside, both at the same time. It felt like an orgasm in my inner ear! The sounds I heard were quite tangible, but at the same time I knew the dorm was completely silent. The sounds were heard inside my ear, but at the same time I sensed an origin from deep under the ground of Vienna. It seemed like I had tapped into some kind of enormously powerful, and ancient, musical-psychical energy source. It was an experience of total bliss.
I understood somehow that the intense pleasure I was hearing contained the inspiration of all melody. It was the essence of music — the Muse of music. I knew the inner sounds had to do with the place of Vienna itself, the Earth energies that emanated from the land and the Danube. I felt a connection with musicians of the past, with the musical ancestors of Vienna. I wanted it to go on forever, to lose myself in the music of the spheres that engulfed me. But slowly the ear orgasms subsided, the music faded and then disappeared altogether. Still, if I concentrate, even today, I can remember, feel the faint traces, and hear the echoes in my mind of the once loud mystery.
Another time while still studying with the Keyserlings, high in the mountains of Greece overlooking the ancient ruins of Delphi, I consulted the I Ching for guidance on my private mission in life.
While tossing the I Ching coins my girl friend took the picture shown below. The answer was hexagram 16, Enthusiasm, changing into 55, Abundance. Sixteen is the hexagram of music – thunder resounding out of the earth. A vision came of my future potentials, of time lines that might be. I understood that one reason for my life on Earth was to try to craft a music with the lost chords. It could succeed, and lead to a time of great abundance, but the I Ching counseled caution and independence at the beginning. That is one of the reasons I knew I should leave Vienna and return to the States.
Slowly, I began to feel like I might have the capacity to continue the work Arnold had started. But this seemed crazy, an egotistical delusion. I had no musical training at all. Although my father had been a professional jazz musician as a young man, and I grew up with a love of music and stereo systems, for some reason I had never learned to play anything. I knew next to nothing about music theory and scales. Only later, when I got well into the work, did I discover that my inexperience, my nearly blank musical slate, was an asset, not a handicap. I had no false preconceptions or musical habits to overcome.
By the time I returned home to the States in the summer of 1972, I knew that many musicians in Europe had already learned of Professor Keyserling’s discovery. Many had already taken up the challenge of trying to make music with the new sounds. Some of the musicians experimenting with the scale were already famous composers, including Arnold’s friends, Karlheinz Stockhausen of Berlin, and Francois Bayle of Paris.
Although somewhat intimidated by the circumstances, my love for the new sounds overcame my feelings of inferiority and inadequacy. Upon my return home I persuaded my father to purchase a chakraphone from Professor Keyserling. It was a simple electronic organ converted to produce the new scale. I played the chakraphone for many years. Although it is primitive by today’s high-tech standards, and I no longer use it, I cannot bear to part with it and still keep it around.
As soon as I received the Chakraphone in 1972 I began a series of experiments. The following year Arnold went on a lecture tour of the U.S. and visited me at Vanderbilt. He heard my early compositions with the Chakraphone. Although he tried to be diplomatic, basically he said my first experiments to make music were all wrong. I started by trying to compose, to write down the notes in a systematic order. I was even using a stop watch to try to get exact timing on the duration of notes. The results were mechanical. He got me away from that mistaken direction, helped me to see that the music had to come spontaneously from within. I learned how to improvise and trust in the moment, to feel the energies and let them tell me how to play.
Then he was gone. I had little contact with Arnold over the next nineteen years. I wrote letters, but he would almost never reply. Wilhelmine would write from time to time to give me news, but I was basically on my own. Musically this was a kind of “dark night of the soul” for me. The world was not ready for this new kind of music. Still, I stubbornly continued on alone. I had only the help and appreciation of my girl friend turned wife, a few close friends and family. No one else was very interested. I dared not tell my story. When I did, I was not believed. The music seemed too strange for most, the concepts behind it too far out. Still, I kept on, persevering in isolation. Due to space and money limitations, my music “studio” in those early days was typically located in a spare closet. I’d play alone, in the dark, with whatever equipment I could scrounge. Nevertheless, the inner rewards were great — more than enough to carry me through.
During that time I had very little idea of what others in Europe might be doing with Chakra Music. I had heard about the creation of a new advanced Chakraphone instrument by one of Arnold Keyserling’s friends, Ernst Graf. I even saw a picture of it in one of Arnold’s many books in German (most of which I could not read). It looked fantastic, but I never heard any music from it, or knew how it worked.
As it turned out, Stockhausen went in a different direction and quickly lost interest. Francois Bayle was initially enthusiastic when he discovered that he was already using a few of the tones in his electronic compositions. He created at least one piece of Chakra Music which I later heard, but then the demands of his career prevented him from pursuing it further. He was too successful composing traditional music to spend the time required for this new venture. Others in Europe who had eagerly begun to use the scale soon found that their preconceived musical notions did not work. A totally new approach was called for to craft a music with these new tones. To make things worse, the electronic instruments created to play the chords would mysteriously break down. The experimenters were unable to maintain and use the equipment. Many tried non-electronic musical instruments, such as string instruments or flutes, but they could not maintain the frequencies of the scale. The tuning must be exact. They found that natural instruments could not hold the lost chords and were discouraged by many technical difficulties with the electronic instruments. After an initial wave of enthusiasm, most gave up. Only a few, such as the Keyserlings themselves, continued to use the individual tones for meditation and chakra stimulation.
At this time I had no idea the Europeans were having so many technical problems with Chakra Music, or that by the late eighties everyone else had given up. I knew I was alone in America, but always assumed there were many in Europe pursuing a similar path. My chakraphone broke down too, and I had more than my share of technical problems, but I persevered. There was always a way to fix things, and get the instrument back into tune. I studied computers and electronic music and devised new ways to use the first home computers to create the tones. My closet filled with computers, keyboards, frequency counters and oscilloscopes. I became one of the early computer-nerd techno-geeks to overcome the many technical difficulties I faced.
Over the years, largely by trial and error, I slowly developed a new type of music with Arnold’s scale. My tools were self observation, holistic thinking and the Wheel, which I learned from Arnold, and a stubborn “can-do” “stick-to-it-ness” inherited from my parents and culture. From 1980 on, I also received great help from home computers, electronic devices of all types, and eventually, music synthesizers. By 1990 I had adjusted the temperament of the scale somewhat, and changed the name of my music to PrimaSounds.
The story of my nineteen year development of PrimaSounds is largely technical and full of difficulties. For instance, the equipment I needed was very expensive. When we were married in 1973, I somehow talked my girl friend turned wife into spending all of our wedding money on what was then the world’s finest speaker, a “Klipsch Cornerhorn.” We could only afford one, of course, but that was alright because my music didn’t require stereo. To this day my wife and I jokingly refer to Klipsch as our first child. It only worked properly when placed in big corners, so after that, every place we lived was dictated by that prime criterion. There was no money in this for us at all. Hardly anyone wanted to hear the music, much less pay to hear it. In short, this strange obsession made no money, but instead took everything we ever had. People thought my pursuit of “meditation music” was a crazy, impractical, expensive dream. Indeed it was! So, to try to make a living and pay for this madness, I ended up in law school and became a lawyer. A strange juxtaposition perhaps – but for me it worked. The music helped me to cope with the stress of the legal profession. The law in turn grounded me and provided perspective and rational skills.
The music, much like myself, needed nineteen years to develop before it was ready to go public. But by 1991 I felt that PrimaSounds was ready. I wrote Arnold and Willy Keyserling about it in some detail. By now I was an experienced lawyer; far more mature than the 21 year old they had known in Vienna. Eventually they responded. Arnold and Willy were quite guarded, but Arnold finally agreed to return to the U.S. to see my wife and me again, and to hear PrimaSounds for himself. We were both astonished by what we heard from each other. PrimaSounds exceeded all of his expectations. He loved it. For my part I was shocked to learn that no one in Europe had continued the work, that I was re-charting this ancient path alone. The significance and meaning of all this is still sinking in.
The next year I created the first PrimaSounds CD, Life Tuning. The music seemed to take on a life of its own. The world had changed dramatically since 1972. Now, as I write this in late 1997, the time seems almost ripe. My studio — which I call the Prima Lab — is now well outside of the closet. Thanks to my career as a lawyer, I can now afford state-of-the-art equipment; and yes, Klipsch now has several brothers and sisters. More and more people know about chakras. The flakeyness of the subject is wearing off as the medical profession and others are starting to understand more and more about these energies. The nuts and crazies that used to dominate any discussion of chakras are finally moving on to other far out subjects. Although not yet mainstream, alternative and energy medicine, chakras, acupuncture and chi gung are becoming accepted by more and more people. Today, the idea of chakra music does not seem so strange, even if it is created by a lawyer. My long years of work in virtual isolation have come to an end. Every day more and more people all over the world are discovering PrimaSounds. They are finding that, like the legendary music of Orpheus, PrimaSounds do indeed soothe the troubled soul. The once lost chords are back again to sing the body electric!
CHAPTER TWO: PrimaSounds as a Tool of the Wisdom Tradition
The Wisdom Tradition provides experiences and language tools with which each person can create their own effective, personal answers….
Some background on the Wisdom Tradition as I learned it from Arnold Keyserling is necessary to understand PrimaSounds. The Wisdom Tradition is unknown to most people because it has been underground for the last thousand years in the West. Still, a few traces of its proud history remain, such as in the Stonehenge monument shown above, or the bible story of the three “Wise Men” visiting Bethlehem. The ancient spiritual tradition has been veiled in secrecy for millennia to avoid persecution by the great world religions – Christianity, Islam and Buddhism.
Yet, the Wisdom Tradition predates all of these religions. It is as old as human time, beginning with the mutation from Paleolithic Man to Neolithic Man. Most scientists now believe that the human species began with this mutation around 12,000 years ago. Neolithic Man – humans – appear to be the first life form on Earth where knowledge and learning are the basis of survival. The jump from Paleolithic Man to Neolithic Man represents the dawning of a new level of consciousness on Earth. Now for the first time there is an animal with self consciousness – Awareness – and the recognition of death, and “after death.” In mythology this is the fall from Eden, the beginning of knowledge. Soon after the mutation and new consciousness, the great questions of life struck us for the first time: Who are we? What is the meaning of life? What happens when we die? Where did we come from?
We have some idea of how we first responded to this challenge from the few remaining aboriginal and almost neolithic tribes, and from archaeological traces. When animal consciousness mutated, or better put, “self organized” to this higher level of evolution, and the first humans confronted these questions, it appears certain that a few, at least, were able to find answers that worked. They were able to find Wisdom, which means a state of being, a state of spiritual realization. The answers didn’t come in words; they came in experiences. The earliest forms are what we now call Shamanic experiences – mystical experiences. The experiences were later recorded and described in words, dance, music, drumming, stories and other abstract symbols, such as paintings on the walls of caves. Early Man knew that the words, music, myths and paintings merely pointed to the experience, and were not in themselves the answer. The answer was the state of being, the state of Wisdom, where people were in communion with Heaven and Earth. These first wise women and men, the first Shamans, necessarily looked for ways to pass these successful answers on to the next generation; ways to lead others to a state of Wisdom, a state of letting go, becoming one with Nature and the Gods. They learned how to enter the spirit world, to speak with the ancestors, plants, animals, fire and stone. They realized the potential of what it means to be Human, to be able to talk to all levels of the Universe in their holy kind. They became wise.
The Wisdom Tradition was born with the realization that Wisdom could not be taught just by words; although words and other symbols were always important tools. Wisdom was taught essentially by inducing states of consciousness, by an initiation and apprenticeship process. It was fundamentally experiential and phenomenological. The Wisdom Tradition was concerned with handing down what the prior generations had learned about attaining Wisdom, about becoming truly human, and utilizing the enormous neo-cortex which the ape-man was given. In modern terms, it was concerned with how to actualize our full potential.
Although long suppressed in the West, this is a living tradition which continues today. The Wisdom Tradition lies outside of religion and science, but combines both. Although it has been largely “underground” in the West, it is now free to come out into the open. In the Twentieth Century it has begun to leave its esoteric roots, and is now open and accessible to anyone mature enough to answer the big questions of life for themselves. The Wisdom Tradition does not provide the answers for others. That is the job of religion, to fill the void of the immature. Instead the Wisdom Tradition provides experiences and language tools with which each person can create their own effective, personal answers, and thereby attain Wisdom. PrimaSounds is one tool among many which can assist in this process. For more information on the Wisdom tradition, and its knowledge, the interested reader is referred to the School of Wisdom webs.
CHAPTER THREE: How PrimaSounds are Different From Music and Sound
PrimaSounds is a kind of bridge between the tools of Sound and Sacred Music, having some of the characteristics of each.
At one time PrimaSounds appears to have been a well known tool of the Wisdom Tradition. Language and symbols of all kinds are also used. So are music, sounds, dance, plants (drugs), sitting, breath, exercise and other methods. To understand PrimaSounds a distinction must be made between: (1) Sacred Music; (2) Sounds; and, (3) PrimaSounds. All three can be used as “tools of Wisdom” to invoke certain conscious states and vibratory phenomena, but each is different. Each has its own strengths and weaknesses. The differences must be understood in order to see how PrimaSounds Music differs in a fundamental way from other types of “New Age Music” or sound therapies now re-emerging in our culture.
Music in the Wisdom Tradition was based first on rhythm; it was the Shaman’s drum and rattle. Rhythm can easily induce altered states of consciousness, especially when used in conjunction with dance. Voice must also have appeared at an early stage as an adjunct to rhythm. Music appears to have developed out of the base components of rhythm and voice. Soon melody, and eventually harmony, were added. PrimaSounds Music has none of these – no melody, no rhythm, and even the harmonies are completely different.
At some point in history, music began to develop outside of the Wisdom Tradition. Music took on a secular component, separate and apart from its use as a tool of awakening. It began to be used as entertainment, as a means for community. This “secular music” includes most of the music known today. For many people this is the only dimension of music they know. Nevertheless, Music as a tool of the Wisdom Tradition – Sacred Music – has continued uninterrupted down through the ages. There are many living examples existing today, from the chants of Catholic Monks and Tibetan Lamas, to the Shamans’ drums and chants of native cultures all over the world, to the high-tech use of the core essence of Music – Rhythm – in binaural, hemi-synch and related rhythm/brain wave based psycho-technologies.
Other sounds, vibrations not in-tune with the primal centers, the chakras, can also be used as tools for awakening. There are many techniques. For instance, sounds are used for attention focusing, or nature merging: becoming empty by use of sounds. Examples include becoming one with the sounds of nature – empty but for the sound of thunder, or one with the songs of the birds, the crash of the surf, etc. Zen meditation sometimes uses these techniques. Other examples are “toning” where you sing a tone (the frequency of which is not really that important), and focus on it, or chant mantras, over and over again to quiet the mind and attune breathing. There are also many high technology uses of Sound. Sometimes they are employed with light technologies, or subliminal methods. But again, this is different from PrimaSounds, which are specially selected tones used in a musical scale.
The most extraordinary and advanced of the Sound techniques involve the resonance effects of sounds. Here highly trained practitioners use sound to create a kind of merger, or resonance bridge, between themselves and the object of the sound being tuned into. This is known as entrainment. For instance a shaman will change his vibratory rate to that of a patient being healed by use of sound. Having tuned into the sick person, and located the dissonance causing the sickness, the Shaman uses sound to try to re-tune the bodily organ.
Shamans are also reported to use sounds for other “magical” effects – to tune and transform into an animal, or plant, or have some type of control over them. An eagle may have one vibratory rate, a crystal another. Each person is supposed to have their own unique signature tone, the overall vibratory rate of that person. It is a kind of summation tone which allows entrainment with other entities. Shamans who do sound work learn how to tune into and affect the vibrations they find around them. Unlike PrimaSounds, they do not focus on the chakra tones alone, and do not necessarily use any kind of musical scaling. The Shaman finds and sings, or uses an instrument to play, the overall frequency of another thing, or being, human or otherwise. In that way, the Shaman can touch and influence the world around him by his incantations.
Obviously, we have much yet to learn about these advanced Shamanic Sound traditions. Most of them are still kept secret. They are only revealed in an initiatory process with long apprenticeships. From what I can tell, however, none of these Sound techniques focuses on the chakra or primal tones alone. Moreover, they do not make a scale of special music out of the “signature” sounds. Instead, they make a kind of incantation which is closer to a magic language than a musical scale. PrimaSounds is based on a musical scale, and on resonance and entrainment. Thus it is a kind of bridge between the tools of Sound and Sacred Music, having some of the characteristics of each.
PrimaSounds are specially selected air vibrations, in other words, specific tones, that are tuned to the key centers of the human energy system. PrimaSounds as a tool of Wisdom is different from other Sound work in that only the select chakra frequencies are used, and they are used in octaves and scales. PrimaSounds employ a very narrow spectrum of sound energies and require very precise reproduction of particular frequencies. Most other sound work employs a broad spectrum, and accurate reproduction of precise frequencies is not that important. As will be discussed later, the requirement of very accurate tone reproduction places a limitation upon the proper use of PrimaSounds and related technologies, a limitation not present for the use of Sacred Music or most Sound work.
As far as we know, unlike Sacred Music, the use of PrimaSounds as a musical tool of Wisdom did not survive into the modern world. This is unfortunate, since we now know that listening to these select tones without rhythm, melody or normal harmony – pure tones – can have as profound an impact upon human consciousness as Sacred Music. The effect depends upon the tones having a frequency – rate of vibration – which is in tune with the vortex centers of the Human energy system, and other factors. In some ways, as will be shown, these in-tune tones – PrimaSounds – can be even more effective than Music (sacred and secular) in inducing Wisdom consciousness. These primal centers of energy, the soul, or as the Chinese say, the “Chi” of a person, are called the seven chakras in the Wisdom Traditions of India and much of the rest of the world. Other Wisdom Traditions (such as in China or Africa) refer to the five energy centers, or ten energy centers. As will be shown in later chapters, the discovery of the five tone PrimaSounds scale allows us to easily reconcile the different traditions, and the different number of energies found in each, that is, 5/10 energies, versus 7.
We speculate that the earliest Neolithic people who achieved Wisdom, that is, who had peak experiences and began to make sense of their lives, would have noticed the vibrational component inherent in such spiritual realization. It would have been natural for them to help others achieve the state of Wisdom by singing or playing the new vibrations which they felt in their heightened states of awareness. The elders would have tried to help others through the Shamanic initiation processes by humming the new vibration doorways they felt – the PrimaSounds.
They would have quickly discovered that it is possible to directly induce a state of consciousness in another initiate by direct vibration alone, by pure tone. The five tone octave scaling of these tones would also have been obvious. They would have discovered that with PrimaSounds music it was not necessary, and could be counter-productive, to use rhythm and melody. External rhythms, and melodies, interfere with the process and inward journey. Further, they would have limited the use of other sounds and tones because vibrations outside of the five-fold scale are out of tune with the Chakras, and produce other, different resonance effects. The distinction between PrimaSounds (select tones in scale), Sounds and Sacred Music, would have appeared quickly and naturally in the Wisdom Tradition.
For early Man, PrimaSound tones would have been produced primarily by the voice, but also by instruments such as conch shells of different sizes, or bamboo flutes, or even termite eaten branches – such as the “Digeridoo” of the Australian aborigines. Later more high tech tone generators such as the tuned string must have developed. Still later the tuning became even more exact (but still not precise), and virtually permanent, with cast metal objects, such as “singing bowls,” bells and gongs.
In the Wisdom Tradition the elders who had achieved Wisdom – a state of Enlightenment or communion with the spirit world – were the only ones who knew the special tuning for the voice and instruments. Only the few elders successfully trained in the PrimaSounds tradition could verify in their own being whether the correct tone was being sung or played. Only they knew the exact tones, the particular frequencies which would work to induce particular states of consciousness in others. The scant traces and records remaining suggest they kept this knowledge secret, and only transmitted the tones through an extended process of initiation. A lifetime of study and practice with an elder wise person was the only way you could learn how to reproduce the exact PrimaSounds at will.
In spite of the creation of instruments, this was a fragile knowledge. Unlike Wisdom work with Sound or Music, in order for PrimaSounds to be effective, the tones had to be exact, with a very small tolerance for error. When an elder died without transmitting this knowledge, it was lost. The instruments might remain, so might the five tone scale, but without the realized Being who knew the exact tones, the students could not play them properly. These instruments produced a range of frequencies, and only the master knew how to play just the right tone. They had no tuning forks to preserve the exact PrimaSounds, although the jade and stone chimes used in the Orient could be fairly accurate.
Further, it appears that the physics, mathematics and technology had not progressed sufficiently to know the numbers of the frequencies of the PrimaSounds. From time to time the exact tones would be lost. Slowly the five tone scale would go out of tune. The intervals in the scale would change too, usually to equidistant spacing. Other tools of Wisdom, rhythmic music for instance, proved more enduring, and thus more effective as a cultural force. So too did work with Sound alone, such as mantra.
Although there are many examples today of sacred Music and Sounds, the transmission of the precise chakra tone scale appears to have been lost almost everywhere. Certainly this was completely unknown to modern Western culture until Arnold Keyserling’s work. By the twentieth century only bits and pieces of the PrimaSounds tradition remained scattered in different esoteric Wisdom Traditions around the world.
The knowledge must have been widespread in the past. This would account for all of the legends, and the predominant usage of five tone scales in native cultures. Still, the intervals and tuning of these pentatonic scales are pretty haphazard. Further, the pentatonic scales are used for musical purposes, not resonant vibration work. Although a few Wisdom Traditions remaining still use sound resonance and Sacred Music, none seem to still know the exact PrimaSounds scale. The knowledge of the five tone scale as a chakra resonator had to be rediscovered by Professor Keyserling. As we will see in Chapter 13 on music theory, his discovery grew out of a little known musical anomaly – the acoustic seventh.
CHAPTER FOUR: Life Tuning – How to use PrimaSounds to change your life
Life Tuning is the process of using PrimaSounds over an extended time as a tool of consciousness, a tool to awaken and grow, to enhance and improve the quality of life. The process follows the four stages of listening to the music which naturally occurs to most people who use PrimaSounds as a tool: Relaxation; Energization; Peak Experience; Visions. Each stage emphasizes one of the four basic functions of consciousness described in my other books. The Life Tuning program is inherently malleable and general. It can easily be incorporated into many other spiritual and psychological practices and disciplines. This chapter provides an overview of the Life Tuning process and the spirit behind it.
For those readers familiar with the language of the Keyserlings, the structure of the four stages of Life Tuning is: Body-Relaxation; Soul-Energization; Spirit-Peak Experience. The fourth stage of Visions combines all three in a kind of fourth dimension which unites the others.
Briefly, these terms – Body, Soul, Spirit – refer to the classic three-brained structure of human consciousness: Body refers not only to the human body, but to all of physical reality, to matter. Soul (frequently called “mind” in today’s American culture, as in “body-mind-spirit”) refers not only to the human Soul, but to all life, to energy. Spirit refers to human Spirit, and to the larger Spirit of the entire Universe – to quality or meaning. These three realms are in turn associated with the three brains in our head: the cerebellum and brain stem (Body); the lymbic system (Soul); and the neo-cortex (Spirit). That our head holds three distinct brains, not one, was discovered by an American brain scientist Paul MacLean. This discovery and the tripartite structure of consciousness is further explained in Laws of Wisdom. As shown in the diagram below of a brain cross-section, the neo-cortex brain is located at the top of the skull, the limbic system is in the middle, and the brain stem with cerebellum is on the bottom.
Each of the three stages of PrimaSounds listening effect a different brain. The first stage of Relaxation requires tuning into the Body – the cerebellum and brain stem. This is the home of the autotomic nervous system. In the Energization stage the focus moves to the Soul – the limbic system. This is the center of pleasure and pain. The Peak Experience stage emphasizes the Spirit realm – the neo-cortex. This is center for all of our higher brain functions.
The Vision level tunes into the integrating Will. This is a holistic synthesis where all three brains work in harmony. The Will in turn unites the three lower consciousness functions – Sensing, Thinking and Feeling. The meaning of the four functions, shown below, is explained in detail in our prior books.
The four functions are also familiar in somewhat modified form to all students of the great psychiatrist, Carl Jung. Sensing refers to perception and the data of the senses. Feeling refers to the impulses associated with the sense data; the dreams, drives, wishes and desires. Thinking refers to the relationships and patterns we make of the sense data. Willing, called intuition by Jung, refers to decision and action. One function of consciousness is emphasized in each stage of the Life Tuning process. The Relaxation stage emphasizes Feeling; Energization mainly uses Sensing; Peak Experience ties to Thinking (or no-thinking); and Vision to Willing.
The process of Life Tuning begins with learning how to relax and take your time. This is a matter of tuning into your body and its natural bio-rhythms. We have found that PrimaSounds produce a relaxation effect on almost everyone exposed to the music in the right circumstances. This initial relaxation effect does not require understanding, or even much effort. The tensions which build up as inner stress seem to be automatically reduced, at least somewhat, by the resonance of the bio-energies. The sound resonance amplification effects temporarily overpower the negative energies.
Since the PrimaSounds frequencies are attuned to the body’s energy fields, exposure to them tends to push you into Body consciousness. The resonance facilitates the feeling of your body. This allows the body to heal itself, to rid itself of tensions and stresses. In addition, the relatively long duration of the individual notes, and the slow moving quality of the musical progressions, tend to take people out of their normal time frames. It helps attune them to their natural bio-rhythms.
Still, without understanding and effort, these relaxation effects are temporary. Understanding is critical to moving on to the next stages of Energization, Peak Experience and Vision. With understanding, much deeper levels of relaxation are possible. Deeper and deeper levels of the body can be awakened and known. Hidden areas of stress and tension can be found and healed. These deeper areas of stored tension are frequently the result of childhood traumas and other painful memories from the past. For that reason this process can sometimes be painful.
Psychology has shown that the bad feelings of the past must be fully felt and experienced before they can pass away. It is no use trying to run away from them. Professional psycho-therapeutical help at this stage is frequently very helpful. Once the painful feelings of the past, stored in the body as tensions, are felt, remembered and understood, we are cleansed of them. This is an exhilarating feeling of liberation which frees us to feel the moment. It is a kind of psycho-therapeutic liberation of the negative feelings and hangups of the past. Understanding is critical to these deep therapeutic levels of body relaxation. With understanding you involve your full spirit. It then becomes a holistic process involving all aspects of your being.
One key to understanding the relaxation process is to understand time. When you understand time, you can change your whole attitude and experience of time. This transformation helps you to tune into your body. It allows much deeper levels of relaxation. The body is the great healer, but only if we allow it, and don’t interfere. A false understanding and attitude towards time creates a mental interference which blocks the natural healing properties of the body. It puts us out of sync with our body and bio-rhythms. This prevents us from truly feeling all parts of our body, deep relaxation and natural healing. So to correctly begin the Life Tuning process, allow healing and find full relaxation, we need to change our understanding and experience of time.
For this we must make a brief excursion into one of the most important discoveries of modern science, quantum physics to be exact, concerning the true nature of time. The quantum physicists put it this way: time does not exist by itself as an absolute, it only exists as an aspect of subjective space. I will try to explain what this means in everyday language. This is important because once we understand the significance of this seemingly arcane scientific discovery, our attitude towards time will change forever.
The science of the past – Newtonian physics – thought that space was empty and fixed and that time was separate from space. Time was supposed to be objective and linear. Space was straight and uniform. Matter traveled through empty space. Based on these assumptions, we viewed the Universe as a giant clock where every movement was deterministic and could be predicted. All was cause and effect flowing through a pre-determined time. This centuries old view is so deeply imbedded in our culture and early childhood training, that it has become our common sense experience of time. Although it is different in Eastern and native cultures, most people in the West today still think of time as an objective reality. But Einstein and others have proven that this is all wrong! Our common sense perceptions of time, space and causality are a delusion!
Modern science has proven this beyond a shadow of a doubt, but few have understood these scientific discoveries. Fewer still have had these insights sink in deep enough to transform their everyday experience of time and causality. But that is exactly what is needed to wake up and escape the prison of time — the psychological illusion of “objective time.” In my opinion this delusion is a significant, and as yet, largely unnoticed factor causing unnecessary stress and tension.
Under Einstein’s Theory of Relativity all time is relative. In fact it makes no sense to speak of time alone. Space and time are one and matter and energy are interchangeable. The only thing that is real is time/space, and matter and energy are two sides of the same coin. We also know that space is not empty, and that time is not linear. In fact, space is curved and connected – so is time. Time does not flow forward as it seems to do. There is no objective time at all. Time is always subjective and space dependent.
All of the fundamental tenets of our common sense view of reality were proven wrong by Einstein and a host of other quantum physicists by the late 1920s. Although it is still commonly called Einstein’s “Theory of Relativity,” since the 1920s it has been far more than just a theory. It has been proven true in numerous experiments by scientists around the world. Any doubts in the public mind should have been resolved by the atomic bomb. Yet our errors in thinking and perception still continue. In centuries past people had the same trouble seeing that the Earth was round, and circled the Sun. Instead, the “common sense view” prevailed that the Earth was flat and the sun circled it. In the same way it may still seem to you like matter is real and predictable, and that time flows in a straight line from past to future, but it does not. Time is not a fixed absolute. Time is a part of space and space is a part of time. Both are malleable, curved and subjective. Time moves, but only with space. The movement of time is not like an arrow as previously believed. Its more like a spiral circle, with fractal recursiveness – self similar repetitiveness.
Because Space and Time are one, as a body’s speed through space increases, its time slows down. Modern physics call this the “time-dilation” effect. The “stretching of time” was proven decades ago. In 1971 it was proven again by an easy to understand experiment using atomic clocks. They simply placed them on commercial airliners and flew them around the world. The time warp was small, but measurable. The clocks on the planes actually slowed down compared to the exact same clocks left on the ground. (See Paul Davies book About Time (Touchstone 1995) for more information about all this.) Still, we have trouble accepting it. It doesn’t seem to make sense.
Einstein went on to discover that time stops completely at the speed of light. This means that at the speed at which all photons travel, there is no time at all! In other words, photons, which means light, is timeless! This has been accepted as scientific fact now for decades. Yet again, our common sense views of time, and our basic life attitudes based on these false beliefs, have not caught up with our scientific understanding. To quote Albert Einstein himself: “The distinction between past, present and future is only an illusion, even if a stubborn one.” What kind of ill effects might our stubborn adherence to this illusion be causing?
Other scientists and experiments have gone even further than Einstein’s Relativity. Studies of the sub-atomic world in quantum physics have proven that matter itself is actually composed of fields of energy. Sometimes these energy fields act like material particles, sometimes they act like pure waves. You never know which until you observe them and the results depend on the observer. Moreover, on the sub-atomic level there is only statistical predictability. The behavior of the smallest bits of matter/energy bundles can never be predicted. Causality is only seen in “groups” of events. The individual micro-particles – the smallest blocks of “matter” upon which all of material reality is built – are not subject to causality. In other words, when you look closely at causality, the chain of events breaks down completely. The smallest gears of this clock do not mesh at all. You see that the big clock is a fraud!
The Universe is not a wind-up clock which can always be predicted. It is a “throw of the dice,” where we all play together to make up what happens as we go along. Only statistical probabilities of how the dice may land are possible. My view is that if we can understand the significance of these truths in our daily lives, they will set us free. At least, they can help free us from unnecessary stress caused by time-related delusions.
How would our perception of the world change if we really understood that time-space is cyclic, not linear? What if our common sense view of time was cyclical, not linear? What if we saw the cycles and patterns, not the illusion of linear flow of time? This seems to be the way most indigenous cultures of the world experience time and see the world. They never have the sense of not having enough time, or running out of time. Compared to modern western culture the pace of most indigenous cultures is very slow, in fact, timeless. For them it is not necessary to hurry up, it’s only necessary to be in the right place and time. We need to learn from the indigenous cultures and understand that space and pattern are just as important as cyclic time. In fact, they are the same!
My experiences with PrimaSounds suggest that our failure to understand the true nature of space-time is a root cause of much stress and tension. It derives from our failure to place time in a proper perspective. It is a kind of “time sickness” caused by false perceptions and beliefs related to time. Physician Larry Dorsey, M.D. in his book Space, Time and Medicine (Shambhala 1985) reaches essentially the same conclusions. So too does the founder of the Omega Institute, Stephan Rechtschaffen, M.D. in his book Timeshifting (Doubleday 1996). Our health today demands that we understand the insights of modern physics and apply them in our everyday life. We need to free ourselves from the slavery of the clock and wrist watch shackles! Better yet, if a watch is on one arm, a compass should be on the other!
I have noticed that most people today, myself included, live in a hurried world, where we are always “short” of time. As a consequence our “time” speeds up. We age too fast. We are not in tune with our bodies. We are out of step with our natural bio-rhythms. Our sense of time actually overpowers and dominates our sense of space. We are time sick, moving too fast, too far into the left brain. As a consequence we are stressed out.
Although reality is space-time, we focus on the temporal aspects, and become blind to the spatial, to the right brain. We try to go fast in everything we do – fast cars, fast food – deadlines everywhere. We live with a constant inward sense of urgency. Its “life in the fast lane” for people always focused on achievement, on getting things done as quickly and efficiently as possible.
With this kind of temporal imbalance it is easy for anyone living in today’s world, especially the so called “Type-A” personalities, to get out of sync with the natural rhythms of the body. We go too far into our head at the expense of our body. We think too much and feel too little. I have come to understand that the “too fast” time state is one of the fundamental causes of much of the energy misalignment, and stress, that afflict so many people. This is significant because medical science today acknowledges that tension and stress in turn cause, or exacerbate, a great many of our illnesses and diseases.
The frequencies of the PrimaSounds, and the slow moving quality of the music itself, slows people down from their usual, day-to-day time. It shifts them from an illusionary time consciousness, to space-time reality. This is a change from time focused head consciousness where thinking dominates, to space focused body awareness where we can also feel. It is a change from time to space-time which alters our experience of time. This is why the PrimaSounds experience is often associated with time distortions. A listener hears a piece of PrimaSounds music which is ten minutes long, and when its over, they think a half hour has passed, or no time at all. They have entered into unmeasurable subjective time. This is not a delusion or time distortion to be avoided, it’s an awakening. It is exactly in accord with the Theory of Relativity. As Albert Einstein put it: “There exists, therefore, for the individual, an I-time, or subjective time. This in itself is not measurable.”
PrimaSounds frequently leave people feeling energized, but slowed down, more centered and deliberate. With PrimaSounds the body awareness increases, a person feels like they are spacing out. They are more into feeling than before, and less focused on a stream of internal chatter. They are out of their normal distorted linear time sense, and into a new subjective time where space, patterns and symmetry come to the foreground. The brain seems to function more holistically, using both right and left hemispheres. A better balance of space and time is attained.
Our sense of space regains its natural balance with time. At first, we may feel spacey, too spaced out, but this is only because of the hidden prejudices of our early childhood Newtonian conditioning. We are used to temporal thinking, but not spatial feeling. If we go with it, realize it is an awakening, we can get used to it, and adapt. We become more of a whole person. We begin to experience reality as it is – space and time connected – everything related to everything else in a unified field. This is the normal and natural state of our human energies. We are designed to both think and feel. Escaping the psychological illusion of fleeting time makes it easier for us to relax, to take “time out,” to feel. We realize that we have all the time in the world to do what we need to do. The present moment is not “fleeting” – it is forever.
PrimaSounds can help us to relax by allowing us to experience for ourselves the insights of Einstein. We can see and feel that time is an illusion, that only space-time is real. This awakening naturally helps us to relax. Of course, the key is always balance. Some people err on the other side of too much space, too much feeling. They are never on time. Their thoughts are incoherent. Space without time is also unreal, not to mention impractical. The key is not to abandon time, it is to be a master of time, not its slave.
After a listener slows down, relaxes, and reaches a healthy balance between space and time, they can begin to use PrimaSounds resonance to focus in on the chakras. This focus of attention starts the cosmic energy flowing. With the body in a healthy relaxed state, the Soul can more easily grow. This is a transition from emphasis on the Body realm, to focus on the Soul realm; from matter to energy. There is also a shift in the functions from Feeling to Sensing; from Feeling the Body to Sensing the Soul. In this second stage the emphasis is on perception of your bio-energies.
I include seven tones at the end of each CD for this purpose. These tones are designed to help focus your attention on each of the seven chakras. By paying attention to the energies, they naturally open and expand. The strength of the energies increases. It may start slowly, but with time-space it will build and grow. This is the second, energization stage – the stage where the Soul and sensations become the primary focus of attention.
After a while, you will be able to directly experience for yourself what the chakras are. If you are building upon deep relaxation, and have fully felt the body, it becomes relatively easy to have a direct experience of Soul. You can actually sense your energies with all five senses. Later you can sense the energies of others, and ultimately of all living things. You’ll see for yourself that the whole Universe is alive and has energy. You will come to understand yourself as a living field of energy, a field in constant interchange with the rest of reality.
Work in the second stage usually begins by noticing which of your energy centers are strong and which are weak. Certain energies may also be stuck and uneven. Most will be slightly out of tune. The goal is to keep your energy smooth, balanced, flowing, and harmonious, and to make it strong. This is easy to understand but difficult to accomplish. For most people it takes many years and constant vigilance. Levels of achievement can be reached, but there is always room for improvement.
After some work in this stage you may be able to touch these energies with your hands, even see them. Then ultimately you can move these energies with your intent, facilitated by your hands, your sense of touch. This helps you achieve a healthy balance and flow This is the basis of most healing arts in the Orient, especially Chi Kung, and acupuncture. It is also the basis of the highest levels of martial arts.
PrimaSounds can be used alone, or in conjunction with other systems of energy work and Soul refinement. Most spiritual, esoteric and psychological traditions include energy and Soul enhancement work of some kind. PrimaSounds can enhance and complement many other practices. Some examples are the Chinese healing traditions we’ve mentioned, the Indian traditions of Tantric and Kundalini Yoga, Sufi practices, and most modern psychological disciplines, especially the humanistic and transpersonal schools.
In view of the power of these energies, only a small opening is required to notice an overall increase in vitality and concentration. With the new energy comes an overall enhancement of consciousness. The Soul is energized and elevated to a higher level. It is put into harmony. But, until the higher levels are attained, these artificially induced “altered states” wear off. The influence of our culture will have its way. The illusion of linear time will set in again. Stress will once again grow. Disharmonies will set in. Energies will get stuck again, some will begin to dominate over the others. Apart from dropping out of the world entirely, like monks and nuns, the only way out of this cycle is to reach the critical third and fourth stages of Peak and Visionary experiences. Then a “Life Tuning” process begins in earnest.
In the third “peak experience” level of listening the focus moves to the Spirit realm. As before, for this new stage to work, it must be built on a solid foundation of the prior levels: body relaxation and Soul energization. In addition to the change from Soul to Spirit, there is a shift from the function of Sensing – Soul Sensing – to the function of Thinking – Spirit Thinking. (Careful, the use of the term “thinking” here is meant in a technical sense – intentional holistic relating – as explained in Laws of Wisdom, and does not correspond to the common usage of the word as a reference to the “stream of chatter” inside most people’s heads.)
This stage of intense spiritual realization requires sustained effort and Wisdom. By Wisdom we mean practical “know how,” practical knowledge of the workings of the chakras and consciousness. One of the purposes of this book, as well as our prior books, is to provide the thinking based Wisdom-knowledge required for deeper experience, the third and fourth levels, and then even beyond that, to begin the process of “tuning your life.” The desire and effort needed for this is a matter of personal choice. But if you so choose, PrimaSounds can be used as a tool to evoke profound peak experiences. The world of the Spirit can open up and become a living reality.
For most people their first peak experiences are usually relatively mild, or disjointed and incomplete. They have various types of altered states of expanded consciousness, and visions from the subconscious related to past memories and abuse. These are frequently important in the context of psychological therapy and learning to know yourself. But beyond this, there is the potential to have a much more profound, sacred experience. The essential peak experience of the third level is an experience of union with the Infinite – GOD. The Indians call this tuning into OM, the fundamental tone of the Universe. In Buddhism this is Enlightenment – Nirvana, the Buddha’s subtle smile.
Whatever the cultural context, it is a transpersonal, sacred experience. To attempt to speak of it, as I’m doing here, is to think of the Infinite. Since the Infinite by definition cannot be contained by finite concepts or words, it is ineffable, and this attempt the impossible. Thinking and words can never do it justice, it can only point the way. This kind of knowledge can only be gained by direct experience, not books. That is why this usage of PrimaSounds is so important.
Only after you have had this experience in its full intensity, and the visions or knowing which comes with it, does the Life Tuning process truly begin. A kind of spiritual knowledge comes with this type of sacred experience that cannot be learned in any other way. It is one thing to read about another person’s mystic experience, or to understand intellectually the unified space-time theory that all things in the Universe are connected. It is quite another to actually experience it – to feel the complete unity with the Universe, and yourself as a fractal hologram, an inherent part of a living, conscious Universe.
But when this stage is finally attained – for some it is easy, for others it takes a lifetime of work – then the Life Tuning process can begin in earnest. The fourth stage of visionary experiences becomes filled with meaning and guidance. The previously chaotic world starts to make sense in a new way. You can use PrimaSounds to fully open, balance and tune the chakras, and help bring them, and your life, into harmony. Your thinking can become clear and holistic, and transcend linearity. In terms of psychology, especially Jungian, this Life Tuning process is usually called the “integration of consciousness.”
The seventh chakra – Spirit – is the starting point for the peak experience, because this is a person’s fundamental vibration, their tone. All of the other chakras are derived from it. By tuning into this field you can get to the starting point where you will not be determined from the outside, but will decide from the inside. You can then create a continuity, the meaning of your life in space and time.
This spiritual chakra field creates, among other things, an electromagnetic vibration in the cortex of approximately 12 hertz. This is the alpha brain wave pattern. (There are other reasons for selecting 12 as the base number, instead of other frequencies, such as 10 hertz, that are within the alpha wave range; but explanation of these reasons would lead us well astray. The interested reader is referred to Chance and Choice or Laws of Wisdom.) Twelve hertz is too low a tone to be heard, but not to be felt. It is like the experience itself – a “Thundering Silence” as the Zen Buddhists call it. It is a state of complete emptyness, nothingness, that is, at the same time, filled with the entire Universe.
PrimaSounds can help you merge with the infinite nothingness, and thereby begin the journey. Still, PrimaSounds is no magic pill. Sustained effort, dedication, and purity of heart are still required. For some people this experience comes, when they are ready, by focusing all attention on the energy at the top of the head, thinking of the infinite – GOD – and just letting themselves go, merging into it. There are many other methods, many other ways this kind of incredible experience can come to you. With perseverance, guidance and instruction, it may eventually come, but it cannot be rushed. Its not really a matter of trying hard either, for it comes in letting go.
Although thinking in the holistic sense may be a valuable tool in conjunction with PrimaSounds to help you attain this experience, it is not the experience itself. The Infinite is beyond thought. It exists well outside of time, and cannot be entered if you are still trapped in a time sick state. Linear thinking and tension will interfere with and prevent the experience. The intense Peak Experience referred to here can only be attained after you have escaped the time based delusions. A balance of space and time is needed. So too is mastery of the first two levels of listening – body relaxation and energy enhancement. Then holistic thinking – spiritual thinking – becomes possible, and can help, rather than hinder, the Life Tuning process.
The peak experience, sometimes called Nirvana, Satori, Moshka, Enlightenment, Christ Consciousness – whatever – is just the beginning of Life’s Tuning, not the end. For unless you fully integrate your consciousness, you will not be able to maintain the alpha vibrations in a pure form. You will go out of tune. You will lose your perfect timing, your space balanced timing. Your energy will be completely overlapped by other vibrations. No energy shield, or sheltered life with only nature or other enlightened people, will protect you. You will still be vulnerable to the ill effects of your own consciousness.
Just as the energies affect your consciousness, consciousness affects your energies. Until your consciousness is radically transformed, its effects on your chakras will be largely negative. The essence of the transformation needed is to stay in constant attunement with the fundamental tone of the world, the primal Source of All That Is. The idea is to bring your consciousness, and thus your energy, into harmonious integration with the infinite Source. It is a trick of staying in the ever changing flow of space-time – the Tao – where everything is related to everything else, where time and space constantly interact with each other, and change each other. This is a place-time where nothing, not even the past, is fixed. As the Greek philosopher Heraclitus said thousands of years ago: All is flow. Nothing remains the same. You can never step into the same river twice.
The goal of Life Tuning is “integration of consciousness.” This is a common term in psychology, especially Jungian psychology. But what is really meant by that? In the ordinary course of human life we experience a series of disconnected consciousness states. We are “disintegrated.” We have many different selves, states of consciousness, that are either poorly connected, or not connected at all. For instance, the waking thinking self is usually out of touch with and does not remember the dreaming, sleeping self. The left and right brains are not connected. The sensing, sensual energies do not work well with the thinking or willing energies. Feelings are cut off from thoughts, thoughts from action, perceptions from feelings, etc. We are different people at different times, with little or no continuity between our different states of consciousness. (See R.C.L.’s “The Problem of the Subtle Sybil Effect” in Laws of Wisdom for more on this ancient psychological insight).
Since our consciousness is unintegrated, and since the world itself is chaotic, we have trouble understanding who we are. We have trouble remembering why we were born in the first place-time. The world can seem like an endless series of meaningless happenings that do not fit together, do not make sense. Many important things seem to be the result of chance or luck. There is no conscious being there to see the “big picture.” It is like hearing foreign words or sentences without any underlying comprehension. The world seems meaningless.
This discontinuity of consciousness can also be analyzed from an energy perspective. The frequencies of the different primal energies are disintegrated by vibrations that are out of tune. They are mis-tuned in one of two ways. Either they are all tuned to the same frequency, the same pitch – called unisonance – or there are different tones, but inharmonious — dissonant. To be in tune – integrated – means harmony between different tones. Each chakra sounds its own tone, with its own colors, but in harmony and balanced volume with the other.
The four lower chakras tend towards unisonance. The three upper ones towards dissonance. The first four chakras are tied to the four time-like functions of consciousness: sensing, thinking, feeling and willing. The last three are tied to the three space-like realms of consciousness: body, soul and spirit. These correspondences, and the chakra colors, are shown in the chart below. These colors show perfectly tuned and balanced chakras.
In fact, perfectly tuned and balanced chakras are extremely rare. The tendency of the four lower functions is for one of the energies to dominate the others. For instance, if the consciousness function of sensing predominates, the first chakra energy controls. If the thinking function is dominant, then the second chakra tone causes the others to sound like it. If the feeling function is strongest, then so is the third chakra. If willing is the loudest, then so is the fourth chakra. The strongest energy takes over the others in a kind of entrainment effect. Sometimes two of the functions and energies will work together to dominate the other two. Usually thinking and willing go together, and sensing and feeling, but not always. In any event, the danger for the four lower chakras is always that one or more will dominate and overpower the others. This negative entrainment distorts the energies, puts them out of tune and out of balance. An inharmonious unisonce results. The stronger energy stunts the growth of the weaker chakras, and puts the whole field out of balance.
This correspondence between consciousness and energy makes it easier to tune into your energies. You can learn about the condition of your first four chakras by observing what type of person you are. For many people today (particularly readers), the thinking function tends to dominate the others, but it can just as easily be another function dominating. For instance, sensing dominating thinking where the parroting of the thoughts of others passes for thinking; or feeling dominating thinking where desires and feelings replace any thinking, and all is rationalization of what you want. This is a matter of introspection and knowing yourself. Once you discover what type of person you are – a Feeler, a Thinker, a Sensor, or a Doer – you have a good clue as to the condition of your lower chakras. It helps you to know which chakras have to be strengthened and which toned down. You can then allocate your energy-work time accordingly.
The upper three energies have just the opposite problem as the lower ones. Whereas the lower ones tend to go together, the upper ones tend to go apart. The upper three chakras tend to dissonance, instead of unisonce. These three consciousness realms go out of tune, out of harmony, by each separating too far from the other two. The body, soul and spirit tend to fly apart, and fail to act together like they should for harmony. The mind does not know the body, nor the body the mind. Neither is in touch with the spirit. The mind and body have to be brought together and made to work in concert with the spirit.
Here it is not a question of learning which of the three higher chakras is strongest, and dominating the others, as with the first four chakras. Instead, it is a matter of gathering these energies together. All of the three higher chakras – the fifth, sixth and seventh – tend to be too weak. They cannot remain strong until they start to come together in harmony. The fundamental problems of the realms and functions of consciousness – either to be squished together into unisonance, or to fly apart into dissonance – are further developed in Laws of Wisdom.
Untuned Chakras – illustrates with colors a typical pattern of energy distortion found in many people today. The seven chakras are out of tune. The top three are in dissonance and the bottom four in unisonance. In this example we show a person who thinks too much. The second thinking chakra dominates, spills over to the others, and is itself discolored. The result is a discolored orange monochrome in the first four chakras, with the second energy much stronger than the others. Most people are mis-tuned in this way, but the imbalance can just as easily come from dominance of one of the other functions. The top three realm chakras are shown in disharmony. They are out of touch with each other, lose their natural color, and become diffuse, disintegrated.
The way to tune the energies and integrate consciousness is to retain a profound inner silence – an emptyness. This comes from the peak experience. This inner silence is the sacred dimension, or pure Awareness. It allows the otherwise unconnected states of consciousness to come together. Prima Sounds can help you to get to this ineffable sacred silence, the OM. You can never fully understand it if you have not had such an experience. Reading is a poor substitute because words and intellect alone do not do justice to the sublime.
The third stage of listening leads to the first step on the spiritual path of Life Tuning. PrimaSounds can then be used in a new way to tune into the Universe, to help with visions, community and ritual. It can bring us to the indigenous world view where we live together in a global village. Life Tuning creates a new world where each person finds and sings their own tone – a world of rainbow harmony, rather than uniform consonance or dissonant fighting.
Still, even in this New Age, and even after you are experienced, and on your way, the opening and tuning of the chakras produced by a PrimaSounds session will not last. Neither will the peak experience. Until full integration of consciousness is attained, the energies and knowing will fade away. The silent Awareness – the consciousness outside of time – must be strong and ever present for this integration to be complete. Until then interference from your own consciousness, and the different frequencies of the outside world, will disintegrate the peak experience. The energies of your system will fall out of tune. Some dissonance and unisonance will set in. These “bad vibrations” will blind you to the mysterious reality of space-time.
For this reason Life Tuning is a process, not a destination. Once on this way the chakras begin to heal and balance, but it doesn’t happen all at once. Even with the help of regular re-tuning with PrimaSounds, the process takes decades, or more. Most of us are in some stage of semi-tuning. This is illustrated by the diagram – Semi-Tuned Chakras – where the energies are shown coming out of thinking dominance.
With perseverance and good will, the Life Tuning process can lead to harmony and balance. The silent Awareness can slowly grow and become stronger. Each of us can mature. It is a cyclic process of advances and setbacks. It is not instantaneous. It requires constant vigilance. But if our intentions are good, our consciousness will naturally improve – we will integrate into a cohesive, coherent being. Our soul will become more vibrant and colorful. The effects of PrimaSounds resonance will gradually last longer and longer. The energies and peak experiences will be more easily induced.
Our sense of space-time heightens. Our common sense changes. The interference between the chakras decreases. There is less static and dissonance. The seven energies start to work together in harmony. When we are harmonious within, we relate with others in harmony. We can attain harmony with the universe, what the Chinese call the “Tao.” The tuning of our chakras, tunes our life. Although the world around us may sometimes darken, our body glows, our energies sing, and our spirit shines!
Fourth Stage – Visionary Experience
Here we have reached the fourth and highest stage of PrimaSounds listening – visionary experience. Far more than visualizations, these experiences can partake of all of the senses: hearing, taste, smell, touch, as well as vision. They can involve one sense, or all of the senses. They frequently involve novel cross-linkages of the senses, called synesthesia, where for instance you see sounds. Higher sensory capacities unknown to most people – so called extra-sensory perception – are also often involved. You intuit and perceive intelligence and entities from other dimensions and worlds. These “visions” cannot be adequately described in terms of the five senses because they include far more than that.
The visions are in essence communicatory and extra-sensorial. It is perception and insight on a higher level. This stage is an essential part of the Life Tuning process. The appearance of visions of all kinds is a sign that you are on your way.
This is the stage where the integrative function of Willing predominates. PrimaSounds can now be used as an essential tool of ritual. It can be used as a tool to help you invoke and receive help from all of space-time, all intelligences throughout the Universe. In this Willing, or deeply intuitive level, the other three stages are brought together in a higher order.
As you use PrimaSounds to tune into the very fabric of space-time, you start to recognize the hidden fractal order behind the seemingly random events of your life. It all starts to make sense. Your actions take on a higher purpose. You understand why you were born, what gifts and talents you have to share with others. You start to see how you fit into a higher synthesis. You feel and experience yourself as an indispensable part of the global brain. You start to talk to it, and remarkably, it talks back. Guidance and a wealth of information stream in from all dimensions, from all parts of the Universe and space-time. The world has meaning and you are a part of it.
From the beginning of time rituals have been used to create sacred spaces and times for this type of intentional communication – communion – with the divine, with angelic beings and other worlds, space/times. These kind of visions are amplified by community and ritual. They seem to demand it. They naturally involve a sense of awe, a sense of the miraculous and sacred. This kind of joy needs to be shared. But sometimes visions can be frightening. Fear blocks most types of “other-worldly” experiences. Here community rituals are particularly helpful. They can help a participant overcome anxieties and maintain a relaxed space-time state. When this happens, overwhelming love and joy replace the fear. PrimaSounds can be a ritual tool to help you to hear these messages, receive your personal visions and guidance.
As you tune into yourself and other intelligences, you naturally meet others who are on a similar path. They will recognize who you are. They will receive and honor you natural gifts and talents. They will help you to fulfill your purpose. The converse will happen to you. You will see and understand others on a deep level. You will want to help them fulfill their gifts – sing their song. Sharing and mutual service become a way of life. As part of this Life Tuning process you become part of a community of friends, a true global village.
As a human being you have an inalienable right – a birth right – to happiness, freedom, love and friendship. You have a right to speak with beings in all worlds, to have visionary experiences of all kinds, and to receive guidance and inspiration directly. The ideal can become a reality. There is no reason we cannot all live our lives in tune with love, each other, God and the Universe. It is our destiny to grow into this reality. PrimaSounds can help make it so.
Three Higher Chakras
As the chakras develop, the visions become clearer and your life changes in profound ways, you may open up to three more energies – the eighth, ninth and tenth chakras. These higher energies are not part of your personal energy field. They seem to be sub-harmonics of an expanded consciousness. They exist on an altogether different scale resonating to the energies of beings further along in evolution.
It is not necessary to develop these last potential chakras for a healthy, happy life. Most people never do. They only open if needed to fulfill your vision in a larger social context. So unless your vision leads you to play a historical role, you will not develop them. Still, it is good to know about them because you never where your path will lead. You never know what challenges the future might bring. They are always there in potential and can awaken if you truly need them.
We call the three additional energies – 8 – 9 – 10 – by the names: Motivation – Intention – Attentiveness. They bear some similarity to the states we normally refer to by these names, but have a much more intense, historical, transpersonal quality. Unlike the seven chakras which each have a link to a physical system, the three higher energies are not tied to the body and are not created internally. They do, however, have a spatial location relative to the body. The eighth chakra is felt to localize near the knees, the ninth by the feet, and the tenth above the head. Like the first seven chakras the upper three are energy fields which can be thought of as doors to spiritual energy. These energies flow in the currents of history with the spirit of the times. If and when you tune into them, you are hurled into social-historical whirlpools.
The eighth energy, Motivation, relates to the body of the earth as a whole. Its direction is the Northwest and it is associated with the “Power of Angels”. The Motivation chakra pertains to deep-seated drives to help humanity, to serve the Earth. The motivation energy has to do with taking responsibility not only for personal understanding, but for the understanding of others. It involves the creation of general structures and explanations of the processes of becoming aware of Being. It provides the energy to respond to things far beyond personal concerns. With this energy comes the capability to respond to, and understand, newly-emerging social and historical forces.
The ninth energy, Intention, relates to Light and the Sun. Its direction is the Northeast and relates to the “Power of the Muses”. The eighth Motivation energy can lead to the ninth Intention energy. Intention is more focused than Motivation, but is built upon it. It concerns particular historical projects and undertakings. The eighth chakra can bring new understanding which allows the ninth chakra to open. The Intention energy allows for inventiveness on a large scale. With these energies it is possible to create new visions and myths for all Mankind. Entirely new technologies and plans for living can be invented and communicated to the world. The projects and visions of the ninth chakra can bring a new communion between people and levels of being.
The tenth energy, Attentiveness, relates to the highest divine Beings, the prototype of all religions. It is the direction of the center going up. Attentiveness has to do with shining, the pure expression of Awareness. It involves manifestation of the brilliant godlike core of being. Just as Intention is based on Motivation, so too is Attentiveness based on fulfillment of transpersonal Intent. There is a kind of linear progression to the realization of the last three social energies. After Intent is developed, a real capacity to announce with credibility is possible. The tenth chakra provides the energy to proclaim new meaning for all to see and hear, to set a shining example as a living embodiment of the ideals of Truth, Beauty, Goodness or Justice. The tenth energy can be described as an intense, sacred feeling of Higher Self. If you ever hear a being emanating this kind of energy, you are instantly persuaded and can feel the truth of the words, even if you do not begin to understand them.
The ten chakras also relate to the nine basic principles, symbolized by the nine planets and our moon, to make up the tenfold macrocosmic relationship. In esoteric traditions this macrocosmic link is called the “Ladder to Heaven”. In the Bible you see it as “Jacobs Ladder”. In western esoteric traditions the planets are used as symbols on this Ladder to represent a kind of spheric circuitry between the worlds and levels of evolution. The next chart depicts each of these spheres and the Power that goes with them. The different Powers that make up the “Ladder of Heaven” are all interrelated and form a kind of “Golden Chain”. It represents the progress of evolution. Man is in the middle, not the top. We appear to be part of a much larger Cosmic reality, a community of beings from all over the Universe, many much more evolved. This is all further described in other volumes of the School of Wisdom Series, especially Laws of Wisdom and Chance and Choice.
CHAPTER FIVE: How To Listen To PrimaSounds
PrimaSounds requires a new kind of listening. The sounds should be felt with the entire body, not just heard with the ears.
PrimaSounds listening requires a quiet, undisturbed environment, either by yourself, or with others. Typically, your eyes will be closed, and you will be in a very comfortable position. Your back and head will be level, preferably upright, in a sitting position. Lying down can also be nice, but you may find yourself falling asleep.
Always set aside plenty of time in advance for a listening session. PrimaSounds listening should not be rushed. Turn off all phones and arrange not to be disturbed. Good sound equipment is very helpful, and will magnify the effects. Quality speakers are particularly important in the accurate reproduction of the tones, especially the low tones. Still, good results can be obtained if the equipment can play the music without distortion or crackling.
A New Kind of Listening
PrimaSounds requires a new kind of listening. The sounds should be felt with the entire body, not just heard with the ears. That’s why transducers and sub-woofers are great tools to enhance PrimaSounds listening. Begin a session by letting go of any inner dialogue. Begin to focus on the novel sensations and feelings at hand. If you have trouble silencing the inner chatter of your mind, shift your attention back to the slowly changing tones. Listen to the rhythmic beating between the harmonics. Feel the sound vibrations themselves and the way they caress your skin. Play PrimaSounds loud enough to directly feel the vibrations all over your body, particularly in your stomach, spine and head.
Since PrimaSounds are designed to resonate your entire energy field, headphones diminish the total effect and should be avoided. All headphones will only resonate your top three head chakras. If you have to use headphones, try to use a transducer pillow or similar device. In that way your body will also be vibrated and you will not be over-energized in the head. Most people are too much into their heads anyway, so it is very important to bring your lower body into the PrimaSounds experience.
The first level of listening enjoyment requires only that you get yourself comfortable and just fall into the sounds. Let go and relax. Don’t try to analyze what you hear, think about infinity, or better yet, don’t think at all. Try to remove yourself from the inner dialogue, to step out of the endless stream of worries, concerns and plans. You can get back into all of that later. For now treat yourself to a time out, a time to just relax and do nothing but feel your body and sense the bath of sound energies running all over you.
Listen to the many new and unusual sounds and frequencies which you have never heard before. The deeper and more intensely you listen, the more you will hear. There are layers of sound and constant subtle movements in what may at first seem to be static or slowly moving sound forms. If you let go, the sounds will carry you inward and invoke intense feelings of joy and release.
From time to time while listening try turning your head, or slightly varying your position in the room. Notice how the sounds themselves vary as your ears enter different parts of the standing wave patterns created by these sounds. (See the chapter on the Physics of PrimaSounds to see what this means.) Pay attention to these vibrations, and the pockets of sound you discover. Go with the resonance effects created by these sound waves, rather than oppose them. By doing this you will probably find that your discursive thinking, your anxieties and tension, will be replaced by positive sensations and feelings. Its like using a sound shower to wash away “bad vibes.”
Another time try standing up while you listen – feet rooted, knees bent as in chi kung or martial arts meditation. From time to time let your body sway with the feet fixed, like a tree. Let your arms move slowly, very slowly, and feel how your hands vibrate in the air. Still going very slowly, move your hands a few inches above your skin. Go over different parts of your body, especially the chakra areas. After a while many people start to have a tactile sense of their own energies. They can touch their energies! The key is not to move the hands too quickly, keep an empty mind, and don’t try too hard.
Another approach is to slowly move around the room while you listen. Just let yourself move with the sounds, identify the pockets of sound and flow from one to another. The presence of other people in the room, especially singing people, makes the experience even more varied and beautiful. You may want to walk slowly, like in Zen meditation, or to spin, like in Sufi dance, or to slink along like a large cat. Just let your body move the way it wants. Usually your eyes will be closed, or squinted, but sometimes it will feel better to keep your eyes open. Do whichever feels most comfortable for you at the moment. Just keep focused and avoid thoughts, and especially avoid self criticism, or embarrassed self consciousness. Have the self confidence to experiment, and do what feels right and natural in the moment. Be yourself. This is one key to feeling good and to over-all wellness and health.
Space-Time Feels Spacey
Listening to PrimaSounds may make you light headed and feel like you are falling inward. You may feel spaced out and disoriented at first. If this is a novel experience for you, there is no need to be alarmed. The dizzy sensations and feelings of head expansion will pass, and when the sounds are over, you will be completely cognizant and coherent, usually even more clear headed than before, and very calm. Although your consciousness may be altered while you are listening to these sounds, it is temporary. You can open your eyes at any time and quickly return to normal, waking consciousness.
The feelings of spaceyness are not necessarily bad. For many it shows a better balance of space-time as discussed in the Life Tuning chapter. If you are comfortable with the new perceptions, just relax and let yourself go with them. They should not harm you in any way, just allow you to relax more deeply and fully in the moment. You are entering into what Einstein called your “I-time or subjective time.”
In our experiments with PrimaSounds since 1973 we have exposed hundreds of “normal” people to these sound vibrations without adverse affects. Instead it has produced a variety of remarkably positive effects. Nevertheless, common sense suggests that epileptics, or persons with mental illness, brain disorders or any type of extreme medical condition should exercise caution when listening to PrimaSounds and consult first with their supervising physician. The acoustic effects of PrimaSounds can be quite powerful.
No research has yet been performed as to its effects on injuries, disease, schizophrenia, or other pathological states and disorders. Although many speculate that PrimaSounds can have profound healing effects, and the myths surrounding this type of music from the past suggests this (i.e., Orpheus), we do not yet have any hard evidence on its medicinal applications. Still, I would not be surprised if others develop these medicinal applications in the future. I have already received reports of accelerated healing of all kinds, both physical and psychological. One listener even swears that it cures his hangovers! But there is not yet any scientific or medical proof, one way or the other.
I suggest that you not try anything drastic without the advice and support of a sympathetic physician. Most of the evidence we have to date is anecdotal, and most is from basically healthy people. Their primary aim has been relaxation, development and transcendence. Their only “illnesses” are the normal stresses, tensions and neurosis of modern chaotic life.
For people in an average or better state of health there is no danger from the sound resonance effects. So unless you have such an extreme medical condition, go ahead and enjoy the light-headedness, and let all of the tension, negative emotions and stress flow out of you.
Strong images, visions or fantasies may come. If so, don’t tense up. Just remain with your eyes closed, and either enjoy the visualizations, or if you wish, switch your attention back to the music. Listen to the subtle changes in tonal forms within the continuous slow flow of the music. Relax and feel the sound vibrations in your head, spine, stomach, and other parts of your body. Notice how the sounds stimulate one or more of the seven primary energy centers, the chakras.
With a good stereo system you will probably soon notice that the louder you play the music, the stronger the effects. There is a danger here. Any sounds or music played too loud for too long will damage the ear drums and sensitive bones of the inner ear. Remember to take care of your hearing and don’t play PrimaSounds too loud. If your ears start to hurt, or bother you in any way, then stop, and switch to silent meditation. As funny as it may sound, some people, myself included, from time to time wear ear plugs when listening to PrimaSounds at high volumes. This allows your body to enjoy the strong air movements without endangering your ears.
A Poetic Listening Technique
Here is another poetic or visionary method for listening to PrimaSounds: “Try imagining that you are whirling your love energies all around you, and at the same time, understand yourself as a flute. Then, after some time, allow a deep and profound breath to arise up from your lower passions. When this happens you will have made yourself empty and you can then open the particular meaning of each chakra.” [This image is taken from the first volume of the School of Wisdom Series From Dark To Life by Arnold Keyserling (School of Wisdom 1991)].
The effects of PrimaSounds can be greatly enhanced by quality high fidelity equipment. Although good results may still be obtained on average stereo equipment, playing PrimaSounds on poor equipment should be avoided. Since the sound waves have a direct effect on a person, the quality of the production of the vibrations is important. Poor equipment, especially speakers, can cause distortion detrimental to your enjoyment of the music. So if you do not have good equipment, especially speakers, to listen with, do not turn up the volume too high, and do not listen too long. Better yet, upgrade your system – sub-woofers and transducers are especially recommended – or go to a friend’s house who has great equipment. You may be astonished by the difference.
In the past few years we have been experimenting with special PrimaSounds furniture — such as relaxation chairs equipped with sound vibrators — and with optimal surround sound systems. Some day these may be available as products, so keep checking the PrimaSounds webs for the latest developments at http://www.PrimaSounds.com.
PrimaSounds Is Not New Age Music
PrimaSounds is not another type of “New Age” music designed to be heard as background sounds. It is designed for deep inner experiences and self discovery and so demands your undivided time and attention. Although some people may enjoy it when used as background mood music, others may be very annoyed by it. Never try to force PrimaSounds on anyone. If you don’t want to hear it, you will put up psychological barriers. Further, I suggest you not keep PrimaSounds on for long periods of time, or use it as constant background music. It’s meant to be taken in relatively small doses, one or two hours at most.
PrimaSounds and Other Music
The tuning of the PrimaSounds pitches can sound unpleasant – sour – dissonant – if combined with the scale of regular external music. This is because PrimaSounds is based on the one interval which does not fit in the diatonic and 12 tone systems used by almost all other musical scales in the West, the natural acoustic seventh. This is explained in the chapter on Music Theory.
Although at first I did some experiments with combining the two scales and two forms of music, I did not pursue it. Although some superficially good results are possible, in the long run they don’t go well together at all. Its like water and oil. The oil of regular music distracts and pollutes the water of PrimaSounds. The direct rhythms of music interfere with the more subtle rhythms produced by the tone combinations of PrimaSounds. The presence of melody is also counterproductive. Melody is antithetical to the random effects of the Strange Attractor. It prevents spontaneity, and interferes with being in the flow of the moment. It puts you in time, so does rhythm in a different way. I could go on, but in short, I suggest you resist the temptation to mix and combine other forms of music with PrimaSounds.
Some Suggestions for Listening Experiments
After a PrimaSounds session, just as the music stops, pay careful attention to how you feel at that instant. Notice if or how you are different. How does your head feel? Have your senses changed? What has happened to your sense of time? The first few times you do this experiment, try putting “the difference” in words or symbols and write it down. Then later go back and think about what you wrote.
Modify this experiment on another occasion: after the silence at the end of the PrimaSounds session don’t try to describe the difference to yourself or others, instead keep experiencing it for as long as possible. Luxuriate in the charged emptiness! Strive to remain with chatter free clear Awareness for as long as possible. When you later forget, and then still later realize that you forgot, don’t be harsh on yourself, be glad you remembered and let yourself slip back into the pure Awareness. Observe the other energies from out of this Awareness. For best results at first stay in silence by yourself and arrange in advance not to be disturbed.
At another time do these experiments with someone you know well and love. After the music stops compare their descriptions with yours, or in the second level experiments, observe their inner silence, notice their energy from out of your silence. Try these experiments with a group of like minded people. At the School of Wisdom we have conducted many listening experiments, such as the heads in a circle posture that is pictured at the beginning of this chapter. A group listening experience can be a whole lot of fun, and a good way to make deep contact with people in new and unusual ways.
Energization Stage of Listening
As you become more familiar with these energies, by whatever listening method you employ, you begin to more easily relax and to differentiate and focus on one chakra or another as it is stimulated by the sounds. You may then want to change your style of listening to focus on the energization stage. Here you concentrate your attention on the physical location of each of the chakras. You feel the part of your body where each chakra is located.
Once you have localized the energy in that way, sense out the emptiness in the center of the energy vortex. Sense the void, the black hole in the center of the chakra. Once you have found the energy, feel the dynamics of the entire field. Then keep your will, your attention, focused on it rather than the physical location.
Now imagine the cosmic energies flowing through the field. They flow from the black hole in the center, the infinitely small point of the first dimension. After you imagine it, allow it to really happen. Abandon expectations, but focus instead on sensing the energies that are already there. Tune into the subtle energies.
You may feel a tremendous surge or a heating up of your energy and even your body. Just observe the process. Then when it feels right, move on to another chakra and start the process anew. Some may be easier to open than others. This will probably take considerable time and repeated efforts, so don’t expect success right away. Be patient with yourself and fully digest each new experience that comes.
By meditation on your energies you will learn by direct experience which are your strongest and weakest energies. This is a far better method than having a third person tell you about your energies and tell you what to do. When you sense it for yourself, you will “really believe it” and your motivation to act will be much stronger. Moreover, this is the only way you can be sure the advice is correct.
Experiential verification is the doorway to truth, in other words, “seeing is believing.” Once you know from direct observation which of your energies are strong, and which are weak, you can begin to pattern your energy work accordingly. You can begin to use PrimaSounds to focus on and amplify your weaker energies and achieve a balanced whole. The activation and balance of your energies will in turn assist in the creation of continuity between your different states of consciousness as discussed in Life Tuning.
In this Energization stage you will want to listen to the individual tones of PrimaSounds. The five tones are called A, E, I, O, U. Each of the seven tones (five of one octave and the first two notes of the next) are played solo at the end of each of the PrimaSounds CDs. The chakra tone alignment is as follows:
7 – Spirit A
6 – Soul U
5 – Body O
4 – Willing I
3 – Feeling E
2 – Thinking A
1 – Sensing U
On the first CD, Life Tuning, the first note played, U, corresponds to the first chakra, the second note, A, to the second chakra, the third note played, E, to the third chakra, and so forth up to the seventh note, A. On the second CD, PrimaSounds, it starts with the seventh chakra, A, and goes down to the first chakra, U, in a grounding exercise. On the third CD, Gatekeeper, it goes from the first to the seventh, and then back down again.
The single tones can help you to focus on the different energies, to tune into each. Listen carefully to each tone. Play them loud enough to feel them vibrate in your body. If your equipment can’t do this, find a friend whose stereo is good enough to do this. It significantly helps in this stage of energy work. Focusing on the individual tones in this way can be particularly helpful for initial orientation to the energies. It makes it easier to differentiate the existing energies and awaken the weaker ones. Then later the individual tones can be selectively used to work on your weakest energies and bring them all into balance.
You begin to focus on a chakra by putting your attention on the physical location of the chakra sounded. For instance, when the third chakra, Manipura, is playing (the “E” note) focus your attention on your stomach area at the back of your spine. Listen with your stomach, not your ears. Center your feelings in this area of your body. Then sense the void space, the reverse black hole near this part of your body. Let your thinking go blank and focus on your sensations. Notice the amplification effects, how the sound energizes this field. Sense the cosmic energies flowing through this chakra. Imagine it at first if need be. After a while you will have a direct perception of the energies. Its like a sense of touch, only the touch is of an energy, not a solid.
On another occasion, think of the particular consciousness and potential which goes with that layer of energies. The other books in the School of Wisdom series go into more detail on this. For example, with the third chakra, think of Feeling, the impulses and desires, the Subconscious and Dreaming, the vocation of the helper, anxiety relief and recognition. Then most importantly in this and other exercises, let go of the thoughts and anything else and just jump into it, feel the feeling energy.
Play the seven tones through several times in silence trying this methodology. On another occasion when doing this exercise, hum or sing along with each tone as it is played. Notice the beating effect when your voice approaches the same frequency as the tone. When your voice is exactly in tune the beating will stop. Sing louder and louder if you have trouble tuning in. It may take some time and practice to develop this skill, but when you do, notice how the intensity of the experience is heightened, how the air in your lungs, throat and sinuses resonates with the bio-energies and amplifies them even more.
When listening to the music many people find it enjoyable to occasionally sing or chant along, with long sustained tones, very much like the Tibetan monks. Take deep breaths, and slowly sing out the tones that feel right to you. The effects can be quite remarkable. If you are in tune with the tones played, the resonance effects can be significantly increased. You may wish to listen for “beating” and adjust your tone so that it is in tune with one of the fundamental tones then playing. Alternatively, you may wish to balance the tones played in a way that feels right to you by singing a tone not played.
Energy work is not limited to focusing on one chakra at a time. You can also work on groups of chakras – say the bottom four energies, or the top three. Sometimes you may wish to work on all of them at once. When listening to PrimaSounds music, as opposed to the tones at the end of the CD, you will probably notice that all of your energies are stimulated by each piece. You may, however, find that some of the selections stimulate one or more of the chakras more than others. This is no accident! Different energies are deliberately emphasized in some of the works. Still, in all of the pieces, all of the chakras are at least somewhat resonated. That is, all five of the notes are almost always sounding.
I purposely designed the music compositions so that listening would stimulate all of the energy centers. This naturally makes it easier for you to detect your overall energy field – usually called the Aura in the West. The stimulation of the entire field in turn makes it much easier to see an aura, or to touch it, as in Chi Kung. It makes it easier to work on the entire field as a whole.
PrimaSounds can serve to tune the aura somewhat by amplifying the frequencies of the chakras over other frequencies. The heightened resonance effects are present while the music is played, and remain for some time after it stops. You can feel what a stronger, healthier aura is like. The “good vibrations” overpower and screen out the unhealthy, out of tune vibrations, at least for a while. Although the amplification and tuning effects eventually wear off, with practice and insights, the artificial effects can be extended.
By amplifying your energies with PrimaSounds you can more easily tune into the vortex centers of your energy field – the chakras. You can then learn by direct experience which are your strongest and weakest energies. This knowledge will come by observation of your energies from out of the inner silence. It can happen either while listening to PrimaSounds, just after, or at other times during the day when you spontaneously awaken, particularly in crises. It is important to know yourself well enough to know which energies need the most work. Then use your space-time accordingly.
Use PrimaSounds to focus on, and amplify your weaker energies to achieve a balance. All traditions teach that the goal is to balance the chakras and produce an even flow of the energy field. An aura which is out of balance, not evenly distributed, dissonant, or stagnant and blocked in certain areas, is unhealthy and can lead to numerous adverse physical ailments. By activating, tuning and balancing all of your energies you can achieve greater wellness on all levels – physical, psychological and spiritual. Like chemical elements striving to fill the outer shell with 8 electrons, the Soul strives to have all chakras fully and equally activated, all states of consciousness integrated. Don’t get frustrated or discouraged if it doesn’t happen easily or right away. For most people this takes years of work and mature patience.
Peak and Visionary Experiences
The listening instructions given so far pertain primarily to the first relaxation level and second energization level. There are at least two more levels of listening possible. The third level of Peak Experience, and fourth level of Visionary Experience. The four levels have already been described in the Introduction and Life Tuning chapters.
The third and fourth levels require a much more subtle and individualized training than the first two. Personal contact with a trainer is usually needed. It is difficult, perhaps impossible, to give standardized instructions in a book that will work for everyone. Most people require some assistance and direct human contact to develop a customized listening technique to realize peak and visionary experiences. Hopefully you will have an opportunity to participate in a workshop, or classes with a trained instructor where you can receive this information.
If you do go off into these stages by yourself, be cautious and vigilant. Do not try to go too far too fast. Look for a support group, preferably family and friends you know well and trust. You need a supportive, understanding community to process these types of experiences. Otherwise it can be dangerous. Unfortunately, I must also warn you against charlatans who pretend they know in order to make money. Also, beware of cult groups, or any group where the leaders are eager to tell you what to do and think. Also dangerous are the ego based delusionals. These are people, usually well meaning, who think they know far more than they do, and are quick to offer advice. Look at what they do and see if it matches what they say.
For anyone you meet who assumes a position of guidance or authority in these matters, ask who their teachers are, how they learned the things they claim to know. In my personal opinion, if they answer this question by saying it all just came to them without a teacher, or came from a disembodied being, you should be extra careful and probably just walk away. In my experience most people like that are delusional. Above all, follow your own heart and inner voice.
Only Rule – Protect Your Ears
These are just suggestions for listening. You may develop your own methods and techniques that work for you. Esoteric Music is new to our Age, there are few rules. Just remember not to overdo it, and avoid the temptation to play the music loud enough to damage your ears. The middle and inner ear are wonderful instruments of energy transmission and conversion. These sensitive instruments of energy detection are fragile and can be damaged by excessive and prolonged volume. Get to know this important part of your body, shown below. Note the beautiful spiral shape of the inner ear cochlea photographed in the lower right and the sound frequencies it picks up. The lowest tones are heard at the core of the spiral, with the highest at the end. Usually when people begin to lose their hearing the higher tones go first. Be careful. Tune into your ears and protect them.
CHAPTER SIX: How PrimaSounds Music Is Created
I pay attention to the technology of my own body. I sense the tones directly, and the effect they have on my consciousness and my energies. I feel how each tone shape impacts my seven chakras. I also sense their effect on my overall energy field.
Those who have heard the CDs know that the listening experience is like a sound shower for the soul. The vibrations caress and massage your entire body, lulling your discursive mind. The mind goes blank, and if close attention is paid to the music, “normal ego-centered thinking” is impossible. The ego is balanced by the Self. The right brain awakens and adds to the left brain. A higher awareness grows and unifies all levels and sides of your being. An integrated holistic consciousness results. This is also how PrimaSounds is, or should be, created or performed. The experience of listening is fundamentally the same as the experience of creating.
When you let go, and flow with the music, the PrimaSounds opens your hearing to the Inner Universe, tuning you into your deepest inner Self. The music natural to this scale is chaotic, based on zero, fractals and the Strange Attractor. For this reason its performance is primarily a matter of spontaneous improvisation. PrimaSounds music is not composed or rehearsed, and never repeated. PrimaSounds simply happens. It is a kind of channeling from the Muse.
There are no melodies, rhythms or other forms of order found in all other music, even improvisational jazz. At first it sounds almost completely chaotic, unpredictable. It is hard to tell one song from another. Yet there is a fractal order with a link to the underlying ground of being – the Infinite – which makes the sounds soothing and leaves you serene. That is why you must reach this state of being to play PrimaSounds correctly. Contact with the Infinite, space-time, and the Strange Attractor is essential.
PrimaSounds is meditation music; both in creation and listening. Since its scale is attuned to the primal energies of the soul, the music naturally throws you into the zero dimension, opens you to the healing influences of calm spontaneity. It takes you to the timelessness of space-time – the moment – if you let it. Sometimes the process of creation took me there. Sometimes, due to my own limitations, it did not. Naturally, I did not save the failures! The tracks selected for my CDs represent what I consider to be my successes – the space-times when everything effortlessly fell into place.
The songs were improvised layer by layer, keeping only the successful tracks. Then later each track was edited. I also put my left brain, analytical skills to work. Computers and midi equipment were utilized to edit and record the pieces. Most of the songs on the CDs were created and edited over a span of several years.
Each selection uses from four to twelve channels of electronic sounds. After the initial creative process, hundreds of hours of listening and computer hacking went into the final editing, mixing and recording of these works. The final transfer from computer hard drive to DAT tape was accomplished using digital recording equipment. This means all of the recordings are purely digital. I did this to attain the highest possible recording quality.
PrimaSounds are actually produced by a variety of electronic music synthesizers. These keyboard instruments are actually mini-computers. They are programmed to produce tones which emulate traditional instruments, and entirely new sounds. Using a frequency counter I carefully reprogrammed and tuned each key of the keyboard to the new pentatonic scale. Further, all of the tones heard on my CDs have been originally created in a special process which I call “sound sculpting.” No factory pre-sets are ever used.
The first step in the creation of the music is to sculpt the sounds and program them into the keyboard. This is equivalent to creating different types of musical instruments, each tuned to the PrimaSounds scale. Only after new tonal forms are created, and selected, can the spontaneous performance proper begin. The creation of the tone forms in this way can take hundreds of hours. For me these are usually timeless hours of pure bliss that fly by, and provide enormous satisfaction and fulfillment. I find it just as satisfying as the actual performance or playing of the sounds.
I invented this new sound sculpting process over many years, through trial and error and a lot of inspiration. It requires both the special meditative state previously described, and certain technological tools. Once in this state, I began to fashion new tone forms using both visual, aural, and “extra-sensory,” or extended-touch, input.
Technology plays a key part in this for me. I use an oscilloscope and frequency counter to extend my own senses. The oscilloscope allows me to actually see what the sounds look like in two dimensions. It provides a visual input which enhances the other senses. I can see what a sound looks like by itself, in chords, or when combined with other tone colors. The frequency counter allows me to measure precisely the frequencies produced by each tone. It also provides numerical guidance to the purity of the tones and their combinations.
But most important of all, I pay attention to the technology of my own body. I sense the tones directly, and the effect they have on my consciousness and my energies. I feel how each tone shape impacts my seven chakras. I also sense their effect on my overall energy field. This “feeling” is a kind of extension of the sense of touch. My whole body becomes a kind of ear.
Sculpting the individual tones, and then playing PrimaSounds music, are both wonderful creative experiences. Although I have been able to share the PrimaSounds listening experience with many, so far I have not been able to share the creative process. It has necessarily been a very personal and private experience. Special equipment and training are required for this new type of technological joy. The equipment required is still relatively expensive and fragile. Very few people have the technology or other facilities. Also, at this new stage of the music, there are not many listeners prepared or interested. Still, some day I hope to also be able to share this creative side of PrimaSounds through hands-on workshops in specially equipped studios. In this way PrimaSounds will begin to flourish as a new art form. The full joy of PrimaSounds will then be open to everyone.
CHAPTER SEVEN: Description of the Life Tuning CD
The Life Tuning album was Ralph Losey’s first album, released on CDs in 1993. You can hear selected excerpts from this CD Online. It begins with a flute performance of the pentatonic scale over three consecutive octaves. This allows you to hear the new scale and gives you time to settle in before the music starts.
The first piece, EAGLE’S GIFT, has clean, precise forms with relatively few tracks. It relies primarily upon synthetic violins and other string sounds to create a familiar but very intense sound. Like all of the other works on the CD, it is meant to be played as loud as your equipment and ears safely permit. None of the songs on the CD have a higher volume than EAGLE’S GIFT, so you can set your volume control to it.
EAGLE’S GIFT will quickly pull you into the mood, into deeper states of awareness. With three peaks, including one at the end, it relies upon low tones and body feelings to forcibly grab and hold your total attention, and strip away your stress and mundane daily thoughts and cares. An altered state is quickly induced as the strong low vibrations couple with the intense violin highs to thrust you into the “Eye of the Eagle.” As the title and this description indicates, the work is inspired by the Yaqui Way of Knowledge, as told by Carlos Castenada in his series of books on Don Juan, a Native American sage.
The second piece, SACRED PIPE, lowers the intensity and volume to facilitate deep relaxation. The beginning follows the seven chakras and you may be able to feel them vibrating with resonance up and down your spine. This piece moves away from the traditional sounds to less familiar otherworldly sounds that bear resemblance to the sounds of bells and other percussion instruments. SACRED PIPE continues the Native American theme and is designed to open you to the Great Spirit. The mood and title of this piece were inspired by Wallace Black Elk and his book Black Elk: the Sacred Ways of the Lakotas (Harper 1991).
The third work, PYTHAGORAS, is named after the “Patron Angel” of PrimaSounds, the original founder of the esoteric music tradition in the West. This is the most complicated of my compositions with many tracks and sound layers. Alpha brain wave rhythms are emphasized in this piece to literally lift you up with the strong low tones. Any remaining chatter in your head can be transcended by feeling the powerful throbbing of the vibrations run through your body and by listening ever more closely to the subtle layers of tones and overtones.
Several unique sound forms never before created are used in PYTHAGORAS, so that it can be listened to countless times and still remain fresh. My good friend and colleague, Chip Weston, performed the lead track on this piece and also created the graphics and art work in both the book and CD. By thinking of the Infinite – the inexhaustible Source – you will open up to the powerful alpha brain wave rhythms in a state of deep, yet alert, relaxation. Visions, white light or other indescribable experiences may happen as the peaks of intensity are reached. As an experiment try ending your PrimaSounds session with this piece some time. Then sit in silence for a while afterwards feeling the differences in your awareness, the way your head feels, the previously unnoticed energies inside of you and all around you.
The fourth piece, HALLOWED NAME, allows for a short breather as mellow voices play softly over you. It is inspired by the many esoteric traditions using the human voice as instrument, including the Gregorian and Tibetan. Many layers of vocal tones and sine waves combine to slowly sweep you away. Softly singing with these tones can help dissipate any remaining negative energies.
PRIMA LAB, the fifth work, goes back to the tradition of the flute, with the emphasis on the oriental bamboo flute. But here the flute tones are combined with low sine waves in a simple, yet strong piece with three crescendos. The Feeling tones are emphasized, along with the body energies, and at the end, the Will tones predominate. This work is inspired by the great meditation traditions of the East, which long ago mastered KI (Japanese term for Chi) and the inner universe. PRIMA LAB is also what I call my music studio, where among all of the computer equipment and electronic gadgets, hangs a prized bamboo flute specially crafted to the Chakra scale. Again this is an intense piece which uses the low tones to evoke a peak experience.
The final piece, LETTING GO, allows you to totally relax and just let go of everything. It again features voice shaped tones for a mellow, therapeutic effect.
At the end of the actual CD release the seven tones are played – U A E I O U A – in correspondence with the seven chakras, one through seven. Each tone sounds for two minutes. This allows for an exercise of tuning into the Chakras. It is only on the CDs, which you can order online via Ralph.Losey@gmail.com.
If you get a CD of PrimaSound, you can try the toning exercises. Try time sometimes before listening to the music. Use of the repeat and select functions of your CD player allows you to concentrate on the particular tones you should strengthen to bring your energies into balance. At the very end all seven tones are played, and then one by one the top and bottom tones are let go with only the center tone, Willing, remaining at the conclusion. This leaves you centered in your way.
CHAPTER EIGHT: Description of the PrimaSounds Album
The composition, “The Wheel” uses spinning aural forms going in one direction in the first part of the piece, and in the other direction, but much stronger, in the second half. Imagine a vortex of energy spinning around you, up and down, or back and forth.
My second album, PrimaSounds, has fifty minutes of original music, followed, on the CD versionn only, by ten minutes of the seven individual chakras tones.
The first piece, ENERGIZE, was designed to begin the listening session with an eight minute charge of high energy. It is an intense piece designed to create a wall of sound, emphasizing powerful bass tones, which grabs your attention and blows your tensions away. Focus on your sensations, on the energy of the sound vibrations. Not only hear the sounds, but sense the vibes on your skin, in your bones, your stomach and chest – all over and in your body. Play this loud enough to chatter your teeth (but not damage your ears or your speakers) and you’ll be blasted deep into inner space.
The next stage is RELAX, a six minute composition designed to allow your remaining tension to melt away. Smile and move the focus of your attention from sensations, which is the way to listen to Energize, into your feelings. RELAX is designed to be listened to by feeling your body, not sensing it. Let go and relax. The good vibrations will carry you to a place of feeling wholeness. Your head will open and your entire body will feel good, relaxed, refreshed.
The next piece is INNER QUIET. It is designed to help you stop talking to yourself; a task which is easier said than done! In this six and a half minute journey it’s time to let go of the remaining chatter in your head. Let yourself live life directly without the inner dialogue which creates walls between you and reality, between you and the music. Thinking is important, but not now.
You should do the thinking, don’t let the thinking do you! Learn when to turn it off. Let yourself stop the inner talking; let yourself be quiet and do nothing at all. When you stop thinking and get quiet, your listening becomes more intense. Your sensations and feelings intensify and your attention expands.
The next piece is AWARENESS. This completes the journey from out of the prison of fragmented, left brain ego consciousness. In this eight minute plus work you can jump from consciousness into AWARENESS, into the whole self, the integrated brain and body. Here the Strange Attractor brings it all together into a higher order, the fractal unity of the ten dimensions. This piece was inspired by the sounds of Tibet. The gongs play from the first chakra to the seventh, and at the end from the seventh to the first. Enjoy!
The fifth piece is REBIRTH. This nine minute plus composition creates the sound imagery of everyone’s first experience on Earth, their home in the womb, and their intense expulsion into the outer world at birth. Remember your origins, your face before you were born. Confront the pain of your birth. Come to terms with your life. You were born for a special reason. Life has meaning and significance. Death is not the enemy. Ignorance of your task in life, your meaning, and fear to live your life, to be the real you and fulfill your potential – these are the real enemies.
This composition is a journey into psychological intensity. Let the sounds help the real you be reborn. The music can help you tap the inner courage needed to find yourself, to create your meaning, to grow and be. The wisdom of the body and of your mother Earth will guide you.
The sixth work is ORPHEUS. It is a five minute journey into the underworld, the depths of the psyche. This piece is inspired by the Greek myth of Orpheus, the magical musician who went to the underworld to bring his dead wife back to life. He charmed the Gods of Hades with his music and they allowed him to take his wife back to the surface, back to life, but only if he did not look back during the ascent to be sure she was following him. Almost at the surface, Orpheus looked back and his beloved was lost.
In my version, you the listener become Orpheus journeying into the depths of your unconscious to find your lost self, your missing other half – in Jungian terms, the Anima or Animus. You journey into hell and back, but this time the journey is a success! You trust and don’t look back. You re-integrate your beloved into your consciousness. You find wholeness and health. This is a visual tone poem of some melancholy, deep feelings and longings, which evokes strange and haunting qualities that stir the soul.
The seventh composition is FOURTH DIMENSION WHEEL. This seven minute piece attempts to express in sound the central concept of the philosopher’s stone. This is the central unifying idea which is said to underlie all knowledge, all religions and mystic traditions of the world. Called The Wheel by the School of Wisdom, it is shown in two dimensions on the cover of the CD in the center of the Mandelbrot figure. The books Chance and Choice and Laws of Wisdom reveal more.
This piece attempts to portray The Wheel in the fourth dimension, to evoke the movement of The Wheel in time. It uses spinning aural forms going in one direction in the first part of the piece, and in the other direction, but much stronger, in the second half. Imagine a vortex of energy spinning around you, up and down, or back and forth, as you listen to the sounds. As an experiment sometime, stand up and spin (carefully), Sufi style, while you listen. The effects are amazing!
The CD version of the second album ends with about ten minutes of the individual tones. It starts with the seventh chakra, at the top of the head, the high tone in this sequence. Then works down from the seventh, to the sixth, the fifth, fourth, third, second and first. Each tone sounds for a minute and a half. At the end all seven of the sounds are added together, and then let go, till at the end only the middle, fourth tone, remains.
Focus your attention on the individual energy centers (chakras) when each tone is played. Sing or hum along with the tones to increase the effect. This is an excellent method to localize the bioenergy focal points, or “Chakras,” and thereby sharpen attentiveness and equalize energies. Another good experiment is to try doing this first on occasions, before you listen to the music. Remember, these tones are only on the CD version, the new electronic version excludes them based on popular demand.
CHAPTER NINE: Description of the GateKeeper Album
In this third album the music itself serves as a kind of gatekeeper, sonically opening and closing the gates into other dimensions.
GateKeeper is different from my first two albums in that all of the pieces were composed to emphasize the vision-producing qualities of the music. Although my other albums can also have a vision enhancing effect, GateKeeper is the first one especially designed to emphasize the fourth stage of PrimaSounds listening – Visionary Experience. The other stages of listening – relaxation, energization and mystic unity – can still be evoked with this album, but it is the special ability and gift of this album to help guide a listener to visionary experiences.
Gate Keeper contains five major compositions, each running ten minutes, designed to lead the listener into ten different visionary experiences or dimensions. The name Gate Keeper was taken from the Shamanic culture of the Dagara tribe located in the heart of West Central Africa. “Gatekeeper” is the title given by the Dagara to the Shaman who open and close the dimensional gates between alternate worlds and realities.
According to Dagara cosmology there are five basic kinds of gates that a Shaman may travel through. In each dimension there are countless different worlds and realities, only some of which have been explored by Man. The Gatekeepers know the five portals well, and know how to open and close the gates for their fellow shaman to enter and explore. This cosmology was made known to R.C.L. through his friendship with Malidoma Somé, shaman and Elder of the Dagara. Shown below is a photo of a GateKeeper known to Malidoma who is a guardian of the Kontomble mountain portal described my Malidoma at the end of his book, Of Water and the Spirit.
In this CD the music itself serves as a kind of gatekeeper, sonically opening and closing the gates into other dimensions. The five main sound-gates on this CD are designed to open a different inner gate which the listener can then choose to enter. Once through, the path branches into two directions, one down and one up.
The first worlds are lower – the microcosm – representing contact with levels of consciousness that are part of our own. Traditionally these are called the underground worlds: (1) Fire, (2) Mineral, (3) Water-Plants, (4) Nature-Animal, and (5) the Earth itself, Gaia. Each gate also has an upward heavenly direction – the macrocosm. These are realities where consciousness which is more evolved and expanded than our own can be found. Traditionally these are called the heavenly worlds: (6) Ancestors, (7) Elementals, (8) Angels, (9) Muses, and (10) the Being in the Universe. All ten worlds go together in a kind of evolutionary “ladder of creation,” referred to for instance in the Bible as “Jacob’s Ladder.”
By intense listening to Gate Keeper you can find these five portals within. You can choose to enter and fly, much like a Shaman in trance. It is like jumping through a hoop into another world. There visions and messages of all kinds can be received. New worlds and dimensions can be explored. This can stimulate creativity, self knowledge, and provide lasting contact with intelligences of all kinds from all over the Universe. This is a kind of sacred blessing, not a pandora’s box. So don’t worry, the sonic portals are a one way door; only you can pass in and out, and it won’t happen against your intentions or desires. If a session gets too intense, you can return to “normal consciousness” at any time fairly easily and quickly.
This is music in the tradition of Orpheus, and listening to the CD is like participating in a sacred ritual. Don’t analyze the visions while they are happening. Wait until they are over for that. Sometimes the “visions” will be visual, sometimes auditory or kinetic – they can take many forms. Other times the visions will involve novel cross-linking of the senses, called synesthesia, where for instance you see sounds.
Higher sensory capacities unknown to most people – so called extra-sensory perception – are frequently involved in visionary experiences. You intuit and perceive entities from other dimensions and worlds in entirely new and unusual ways that cannot be described in terms of the five senses. That is why it is sometimes impossible to express these events in words, or to remember them clearly afterwards.
These kind of visions are tied into ritual and community, and naturally involve a sense of awe, a sense of the miraculous and the sacred. It may seem like a trip, a dream, or your own personal movie in your head. Go with it and watch. Remain relaxed and detached. Although there may be a tendency for fear to set in and block these “other-worldly” experiences, if the anxieties are overcome and a relaxed state is maintained, overwhelming love and joy are usually experienced. Again, if it gets too intense or scary, just turn off the music.
Afterwards take time to think and to talk with your friends about your visions. Note how the visions can help you in everyday life. The particular visions that come to you during a listening session come for a purpose, and always have meaning of some kind. With a little help from your friends, counselors and teachers, you can use these other dimensional excursions to tune into your dreams and then make them come true.
Gate Keeper begins by playing the five note scale. Then there are the five sound-gates of ten minutes. The CD concludes by playing the seven individual chakras tones five times, followed by a final, short, relaxing, tone sequence piece called Chakra Play. The five visionary pieces on the CD are purposefully very intense, and require quality equipment – preferably including a sub-woofer – for the full effect.
1st sound-gate: Fire-Ancestors
The first ten minute sound-gate is entitled Fire-Ancestors. The name signifies the two worlds into which the gate opens. The first microcosmic world is Fire. It is tied to the first chakra located at your base of your body and to the heat of the sensual world. Mathematically it is the zero dimension – the point – the infinitely small place holder. It is the spatial equivalent to Nothingness and is experienced as very focused, clear consciousness. In physics it is the photon, the basic quantum unit of light – fire incarnate. Remember, for the photon there is no time. This song helps the listener to find this timeless Nothingness – the pure light of the Void – to travel to the fire within; the heat and billions of photons that make up your body and energy field.
It also opens you to the fire without. Fire is found everywhere in the Universe. You may find it deep down below you in the molten core of the Earth, the fire that keeps our world together. You may find it next to you in a candle. You may find it far out in the Sun, in the fiery photons shining from the Sun which make all life possible. You can also reach out to Fire in the near infinite multitude of stars in the Universe. Their light shines down upon you at all times, but can be seen only after sunset when the fire from our star is darkened by the Earth’s shadow. All of us are in constant communion with the rest of the Universe through natural energy exchanges, through light, but most of the time this communion is unconscious.
All of the light photons that now exist were created with the origin of the Universe. All were present at the Big Bang itself. Their story is the story of the origin, it is the oldest story, the purest. By connecting with Fire we can connect with the primal origin of all that is. The worlds of Fire can also be a source of tremendous sensuality, pleasure and intensity. You can literally set your Soul on Fire!
The higher harmonic to this sound-gate is the world of the Ancestors. That is the macro-cosmic overtone to Fire. It focuses on the sixth chakra at the eye level, the energy of the Soul. Here the higher entities most closely connected with the Earth are found. This includes the personal ancestors of the listeners, departed relatives and friends. More importantly, it also includes any and all Ancestors who are in some way connected with the listener, and their meaning in life, whether known or not. This connects you to the great culture-heros of the past. It can literally bring history alive and give you a new sense of participation in a chain of being – the connectivity of history. This higher level can be a tremendous source of guidance and teaching.
Fire-Ancestors can be listened to in many ways: sometimes just to reach Fire; sometimes to reach Fire and then Ancestors. Other times it can be used just to enter the world of the Ancestors. These two worlds – Fire and Ancestors – are different. But they are also related; each giving power to the other, each having a kind of side door to the other. This is true for all five of the sound/portals.
2nd sound-gate: Mineral-Elementals
The second sound-gate is called Mineral-Elementals, again reflecting the two directions of this gate. Below is the mineral world, the molecular level. The molecular sounds of this world are wave like, they reflect cycles upon cycles. They also reflect a kind of cosmic journey. At the beginning of this piece you will hear these sounds. They are also embedded subliminally throughout, where they ebb and flow like the tides.
These are the sounds of the first dimension. Mathematically this is the dimension of the line. It is composed of an infinite number of points. This dimension is connected to the second chakra and thinking energies. This is the world of stones and minerals. Here you will find the crystalline alignment of ordered molecules. Inside you are many minerals, including the key DNA crystals – the molecular spiraling lines which contain the coded blue-prints for who you are as a physical person. Outside are the countless minerals all around you: the stones, mountains, gems and crystals.
The molecules have their own cosmic stories to tell. All atoms which make up molecules, except for hydrogen which was formed in the Big Bang itself, were formed billions of years ago in the super-nova explosions of stars. Such supernova explosions have already occurred in billions of stars in our own Galaxy. We may even have some molecules from the trillions of super-nova explosions of stars in nearby Galaxies. These atoms and molecules traveled through space for eons and slowly combined to be part of this Earth.
By exploring these microcosmic worlds you can tap into this past, and at the same time, come to understand relationships. These worlds help us to attain clarity and color, just as the crystal is perfect and clear, and releases the colors of the rainbow. The entities found in these microcosmic worlds – the Stone People, as the Native Americans call them – can help us to clarity. We can find and affirm that within us which is real – in accord with our DNA. By the same process they can also help us to let go of all that is false, the countless beliefs and personalities that were foisted upon us, or thoughtlessly assumed by us. We can learn to come into alignment with our essence, like a crystal does, with it’s perfect one dimensional rows.
The higher harmonic of this sound-gate is the world of the Elementals. It focuses on the seventh chakra at the top of the head, the energy of the Spirit. An example of beings from this higher dimension are what the Dagara people call the Kontomble. [See Malidoma Some’s book Of Water and the Spirit (1994)]. In Europe these kinds of magical beings are described in myth as trolls, fairies, dwarves and elves. Cultures all over the world contain reports of encounters with such strange and powerful beings. In today’s technological culture we might see them as aliens.
All of these “higher beings” appear to be able to project themselves, almost like a hologram, and assume a variety of shapes and sizes. What you see seems to have a lot to do with what you expect, and how you are able to make sense of something way beyond your normal experience. They are called Elementals because they appear to have forms related to the four elements: fire, water, air and earth. For instance, they may appear to be in the air, like a UFO, or in the ground, a cave for instance, like the Kontomble.
Whatever you call them, or however they appear, they are highly evolved, and can be very helpful if they take an interest in you. Typically you can recognize them by the feeling of enormous strength and power they project. The usual reaction at first to this type of vision is extreme fear. They are not in your vision to harm you. Like you, they are travelers from other worlds and may be curious about you. Still, they won’t have much to do with you until you settle down, overcome your fears and relax. In the Native American tradition, encounters with beings such as this, alone and outdoors, are the ultimate test of a warrior’s courage. Indoors, in this more controlled environment, it should not be quite as difficult, but may still scare you from time to time.
Again, Mineral-Elementals can also be listened to in many ways: sometimes just to reach the Mineral world; sometimes to reach Mineral and then Elementals. Other times it can be used just to enter the world of the Elementals. These two worlds – Mineral and Elementals – are different, but also related as octave harmonics of each other.
3rd sound-gate: Water/Angels
The third sound-gate is called Water-Angels, again reflecting the two directions of this gate. Below is the water world; the two dimensional plane, level of plant life. The tree-like sounds of this world have a quality of flowing water, with wave upon wave. It is a kind of slow and steady growth in repeating cycles. These are the sounds of the second dimension. Mathematically this is the dimension of the plane, composed of an infinite number of lines. This dimension is connected to the third chakra and feeling energies. This dimension increases in size from the molecular level of the mineral world, to the cellular level. In plants you find horizontal symmetry on all sides, with differentiation only occurring vertically, on the top and bottom. For instance all sides of a tree are basically the same, but the crown and the roots are different.
At the beginning of this piece you will hear fast moving, water-like sounds. They are embedded throughout, and ebb and flow like the tides. It is the peaceful sound of reconciliation, of the trust and innocence of Trees. Externally this is the world of water, plants and trees. Inside you this is blood flow, bodily liquids, and individual cells. Although you seem solid enough, in actuality most of your body is made of Water. Outside it is the bodies of water all around you, the oceans, lakes and rivers, and the trees and other plant life.
The higher harmonic to this sound-gate is the world of the Angels or Cosmic Messengers. Beings at this level are even larger, more inclusive, intelligent and evolved than the Elementals. They seem remote, yet when approached, have an extremly loving quality. They are personal and deeply intimate. If you can make contact, they carry messages about you and for you. Again, there are inherent connections between the Angels and the Trees.
4th sound-gate: Nature/Muses
The fourth sound-gate is called Nature-Muses, reflecting the two directions of this gate. Below is the world of Nature, the three dimensional, solid level of animal life. Here an animal guide will find you. The same animal may come session after session, or a different animal may choose you each time. Be open to whatever type of animal comes your way. They bring lessons of all kinds, and teach about the animal nature that is part of all of us. This is the mischievous wisdom of Nature – the “Wild” within you and without.
The higher harmonic to this sound-gate is the world of the Muses – divine inspiration. Beings at this high level – called Muses in the West – are pure creativity. When we are able to tune into their high harmonic we find a virtual cornucopia of creative inspiration. Visions in this upper dimension require your creative side to be open. The results of communion are inexhaustible inspiration. It is the secret of all great artists. Again, Nature and the Muse have a special link. They share the same doorway and harmonics.
5th sound-gate: Earth/Being in the Universe
The next sound-gate is called Earth-Being in the Universe, again reflecting the two directions of this gate. A less than full quality sample of this entire composition can be heard online to get an idea of what this CD is like.
Below is the world of Earth, the fourth dimensional space/time level of humanity as a whole. Here you can link up with Gaia – the spirit of the Earth and of our species – and with all consciousness on this planet. A kind of communion with all living beings on this planet can be felt. You start to understand the Earth as a living entity unto itself, with yourself as a part of this larger whole. You have your own special role to play. Let the visions show you why you were born. Why do you live on this planet at this time in history? What is your purpose and meaning? How can you serve the Earth and fulfill your potential destiny? Here lessons of community and friendship can come through.
The higher octave is the highest level of intelligence accessible to us. This highest Universal level of intelligence is often mistaken for God, but is not. They are finite beings, but the scope of their finite existence is beyond our comprehension, and seems infinite from our perspective. There are many names for this highest of beings found around the world. Rather than pick any one, we simply use the generic designation – Being in the Universe.
From our perspective they are all knowing, and can reveal deep truths about our self. Only our highest self can make contact with them. For that reason, unless you are very highly evolved, it is frequently hard to remember what is transmitted by them. Usually they appear to us as godlike beings, appearing like an old and very wise man or woman. Again, the wise Friend and the Earth are directly related.
Individual Chakra Tones
As with the first two albums, the CD version of the third album ends with about ten minutes of the seven individual chakra tones. The new electronbic release of the thrid album does not, as per popular demand. It starts with the first chakra and then goes up to the seventh. It repeats this sequence five times, going a little slower each time. This is designed to enhance individual chakra concentration and energy work. The last sequence starts from the seventh chakra and works down to the first. This leaves you grounded.
When listening to the individual chakra tones focus your attention on the energy centers and the corresponding places on the body. Sing or hum along to increase the effects. This is an excellent method to localize the bio-energy focal points, or “Chakras,” and thereby sharpen attentiveness and balance energies. At the very end a short tone-play-song – Chakra Play – will leave you relaxed and refreshed.
For some people visions come quickly and easily. For others it is quite difficult, and takes sustained effort over years. Still others have visions easily enough, but they are garbled, and make no sense. If you have difficulty at first opening to visions, do the chakra exercises before listening to the song-gates. That can also help with clarity.
Also, be careful, when you have Visions, but have not yet had Peak Experiences; all kinds of problems can develop. When you jump into the Visionary stage with first having an experience of total communion, the visions are frequently superficial or confusing. The waking visions may then be more like typical dreams. There is more of an art to visionary work with PrimaSounds than many people expect. Workshops may later be offered to provide personal instruction on this and other areas of PrimaSounds.
CHAPTER TEN: The Seventh Harmonic
As a touch of cosmic irony, the “key” to PrimaSounds is what is “out of key” for all other music.
PrimaSounds form a pentatonic scale with unique frequencies, chords, intervals, summation and difference tones. This differentiates its musical scale from all others, including other five tone scales.
The PrimaSounds scale is based on the acoustic phenomenon of the deviation of the natural seventh harmonic from all other tones. The seventh harmonic sounds out of tune with other notes. For that reason the seventh harmonic is excluded and avoided as much as possible in other musical scales. As a touch of cosmic irony, the “key” to PrimaSounds is what is “out of key” for all other music.
It’s as if our ears had a built in programming allowing us to hear – if we listen very carefully that is – that the seventh was fundamentally different from other harmonics. It sounds “sour” whereas other basic fractions, intervals, sound “sweet.” In more precise musical terminology, the seventh sounds “dissonant,” whereas the others sound “consonant.” Most musicians with good theoretical training, or a very good ear, have long known about the phenomena of the seventh harmonic. A few physicists studying acoustics also know about the anomaly. But it was just considered one of those many quirks of nature with no special meaning. Arnold Keyserling appears to be the first in modern times to realize the significance of this acoustic phenomenon.
But what do musicians and scientists mean by seventh harmonic? Harmonics pertain to reciprocal vibrations. Every time one tone, one vibration, is sounded, a series of discrete secondary sound vibrations are also created. This is an automatic phenomenon of nature, as natural and inevitable as gravity. Vibrations never exist by themselves. They always create secondary vibrations. These secondary vibrations are the harmonics.
In music the secondary, reciprocal vibrations are called the undertones and the overtones. The undertones are lower in pitch with longer waves, and the overtones are higher in pitch with shorter waves. For instance, a string when vibrating at the pitch or frequency we call “low C” (sixteen times per second) will necessarily form the following secondary overtones to low C.
1 2 3 4 5 6 7 8 9 10
c c g c e g x c d e
The overall string is vibrating at low C and this is the principal tone we hear. But if we listen carefully we can also hear the secondary tones, the higher C tones, the G tones, D and E. These secondary reciprocal tones are produced automatically. One of these secondary tones, the seventh shown with an x above, sounds dissonant with the rest. But all of the others sound consonant with each other – pleasing to the ear – and so they are given a place in music, and are part of our musical scale. The secondary tones are known as the “harmonics” of the fundamental vibration.
The harmonics or overtones whose frequencies are exactly double or one-half are called the octaves. They extend the scale, but preserve identity – the octave notes sound the same, but are higher or lower in pitch. This, by the way, is one of the best examples in nature of the scientific principle of “fractal scaling” showing how self similarity is preserved over different scales of magnitude.
The next discrete series of overtones are the thirds, called “fifths” in music, then the fifths, called “major thirds” in music. The overtones are the places on the string where the nodes and sub-waves, or harmonics, naturally form. The sounding of any one tone will naturally create these particular fractal tones as overtones and undertones. The fractal tones follow the fractions of the rational numbers. For example, when the tone C is played all of the overtones are also created, and the string includes fractal waves such as a wave one-third as long as that of C. This one-third size wave produces the note called G, forming the musical interval of the perfect fifth. (It’s called a fifth because it forms the fifth note of the C scale, even though it’s a third of the string length.) Other fractal waves include one which is one-fifth as long as that of C. This produces the note E, forming the musical interval of a major third. (Again, although it’s the fifth harmonic, it’s called the third, because it is the third note of the major scale.) This animated graphic should help non-musicians get a better feel for this phenomena by showing the movements on a string:
Like the overtones, the undertones appear in sound waves automatically whenever one vibration is initiated. The undertone harmonics sound lower in pitch than the fundamental tone, they move at lower frequency, and produce a longer wave. Thus, unlike the shorter overtones, the undertones can only be found on certain musical instruments, like bells, which can reverberate at a pitch lower than the fundamental.
c c f c a f x c b a
1 2 3 4 5 6 7 8 9 10
As mentioned, the frequency and harmonics of the natural acoustic seventh are dissonant when compared to virtually all known tuning systems of the world. Although the acoustic seventh is avoided as an unacceptably sour note, the interval is still always present as a natural acoustic phenomenon. The seventh harmonic can be heard as an overtone or undertone in some instruments, particularly those rich in timbre (which means harmonics) such as a violin.
When the acoustic seventh is taken as the basic interval for the creation of a musical scale, new tones and intervals (distances between the notes) result. The 7 to 4 ratio of the natural seventh harmonic creates a new musical scale, a five tone, pentatonic scale. The PrimaSounds scale uses twelve hertz is used as the fundamental tone (12 hertz is the mean value of alpha brain waves which are considered to be brain waves of between 10 to 14 hertz). Some temperament of the scale is then made to create a functioning musical scale. Temperament is a slight adjustment to tone frequencies which is made to preserve octave identity over scales, and is used in most musical scales, not just PrimaSounds.
When the scale was first invented by Professor Keyserling, he used the normal octave temperament employed in diatonic scales involving the square root of two. Experimentation over the years showed me that this was not the optimal temperament. I have developed a more effective temperament system based on the natural harmonics of the seventh itself. This temperament is unique, and for now remains somewhat confidential.
CHAPTER ELEVEN: The Physics of PrimaSounds
It appears as if PrimaSounds produce standing waves – a wall of sound effect – that is not tied to the acoustics of the room itself. Instead, it appears to have more to do with the people in the room and their energy fields.
This chapter will present our tentative theories on the physics of how and why PrimaSounds works. Nobody really knows yet exactly, in a scientific sense, how and why PrimaSounds works. Scientific explanations are inherently difficult for many reasons. For one thing, most scientists today still do not recognize the existence and importance of the subtle energy fields surrounding the body. Some day as Science progresses – the Unified Field is finally understood by physicists, and acupuncture is finally understood by Western medical doctors – I am confident that a solid scientific theoretical explanation for PrimaSounds will be developed. Still, the lack of exact scientific understanding does not prevent us from using PrimaSounds, any more than it prevents hundreds of millions of people in China from successfully using acupuncture.
Since the discovery of PrimaSounds in 1971 some coherent theoretical explanations have begun to form. They may not survive the test of time, and will almost certainly be modified as rigorous scientific testing provides us with more information. Still they provide us with a rational basis for understanding the physics of PrimaSounds and represent a starting point for further investigations.
In this chapter I will share some of our discoveries and theories. We hope these early observations will spark further scientific investigation. If you don’t care for physics, and aren’t interested in scientific theories, you can skip over this section. But if you are like me and want to understand exactly how PrimaSounds work, why these sound frequencies have the tremendous power they do, this is the chapter for you!
Transversal vs. Longitudinal Energy
What seems certain at this time is that PrimaSound waves directly impact consciousness and bio-energies because of some kind of resonance effect. Since PrimaSounds move at the same rate — the same frequency — as the optimal rates of chakras, a strong resonance effect is created which increases the strength of the chakra vibrations. Resonance is one energy vibrating at the same frequency so as to amplify and re-enforce another.
Recall the child on the swing discussed in the introduction. We think PrimaSounds push the chakras in the same way a child is pushed on a swing. Both depend on exact timing to make the swing go higher. If you push a child when they are still going backwards, you stop the wave. The swing stops. Only if you push just as the child has reached the top of the swing, and started to return, are you in resonance with the swing, and increase the wave. In the same way when a sound is in resonance — which means a matching frequency — the sound pushes at just the right time to catch the chakra energies, and make them go faster, just like the child. The illustration below shows the resonance on a child’s swing to help you better picture the idea.
This is an oversimplification, of course, and it still does not explain exactly how it works. For an exact understanding you must first comprehend the difference between transversal and longitudinal energy.
Science acknowledges that the laws of harmonics are applicable to all longitudinal energy. Longitudinal energy is the “back and forth” movement of matter, such as sound vibrations in air. The air, on a molecular level, is compressed and expanded or rarified, resulting in a back and forth movement of the air molecules in the same direction as the sound wave. The energy particles are said to move parallel to the propagation of the energy wave. This is shown by the animated graphic below created by Dan Russel Ph.D., a Professor of Physics and Acoustics at Kettering University.
More controversial, but seemingly required by a fundamental principle of the science of chaos known as “fractal scaling,” is the application of the laws of harmonics to transversal energy as well. Transversal is the “up and down” movement of energy fields, perpendicular to the direction of travel of the wave. This is the wave form you normally see on an oscilloscope or on the top of water. All electromagnetic energy is transversal. Here the energy particles move perpendicular to the propagation of the energy wave. This is again shown by an animation of Professor Russel.
I have not seen any scientific studies on the relationship between the laws of harmonics of longitudinal energy, specifically the well understood laws of music, and the study of transversal energy. So I am not sure if there is any generally accepted, albeit arcane, scientific opinion on these issues. However, as a matter of theory, based on the principle of fractal scaling and recursive self “similarity” (not “identity”), I doubt that all longitudinal harmonic phenomena repeat in exactly the same way with transversal energy, or visa versa. That is, there is probably not an identical repetition. But, since fractal scaling seems to be a fundamental law of nature, self similarity is to be expected as a matter of principle from one type of vibration to another. As far as I know, in science this theoretical question is still an open one.
There is, however, basic skepticism in scientific circles that sound energy could ever have a direct impact upon electromagnetic energy, because longitudinal and transversal energies are fundamentally different. Remember I am talking about “direct impact” here – resonance. This is different from indirect mechanically mediated relations between the two kinds of energy, such as when a microphone translates longitudinal sound energy into transversal electrical energy, or when a speaker does the reverse. There is a natural “common sense” expectation that there will be no significant direct resonant interplay between the two forms of energy, that they will be like two ships passing in the night, one never touching or even seeing the other. One is energy with a vertically based movement, the other is matter with a horizontal movement.
Recall again the child on a swing. When the adult pushes in the direction of the child’s movement, and does so at the right time, that is, in resonance with the back and forth movement of the swing, the adult gives the child a boost. It is obvious that the adult cannot push the child by moving his arms up and down, like a transversal wave. It does not even make sense to talk in terms of resonance of the two movements. The adult has to push back and forth – longitudinally, not up and down, to attain resonance with the child, and push her forward. Moreover, to make the analogy complete, the adult pusher is physical (material sound waves), and the child on the swing is pure energy (electromagnetic energy). Under this view the two forms of energy cannot have a direct impact on each other. It would not be possible for PrimaSounds to resonate and amplify the chakras, or any other kind of transversal, electromagnetic energy. Yet in listening to PrimaSounds we experience that it does, so the ideas about such compartmentalism and “common sense” must be questioned.
I think this kind of “either – or” thinking, Longitudinal versus Transversal, is an inaccurate carry over from outdated Newtonian physics where matter and energy were considered separate. Today we know they are united by the speed of light squared (E=MC2). Moreover, we now know that the energy “particles” are not really things at all, they are space time fluctuations – energy waves. From quantum mechanics we know that these energies sometimes act like waves, sometimes like particles, depending on whether they are observed or not, but their actions are completely unpredictable on an individual basis. Only statistical probabilities are possible on this microcosmic level.
Personally, I am certain that the natural expectation of “two ships passing in the night” is wrong, that it is based on outmoded Newtonian gestalt. I think resonance can sometimes apply from longitudinal sound energy to transversal human energy. The evidence suggests to me that fractal scaling interlinks all forms of energy. The unified field is more than a theory, it’s reality, despite the so called “common sense” expectations to the contrary.
From my experience with PrimaSounds since 1972, and thousands of anecdotal reports, I am convinced that the harmonics of certain sound energies can have a correspondence with the electromagnetic harmonics of the energy fields around humans and other life forms. The longitudinal movement of matter at certain frequencies – particularly those arranged according to the seventh harmonic – can have a direct resonance impact upon certain kinds of transversal energies. It’s as if they had a built-in microphone or transducer.
There is at least one example in nature known to me, and commonly accepted by all physicists, which shows that transversal energy can have a direct impact on longitudinal energy. We need only look at ocean waves. Here we find longitudinal energy moving along the surface of the water. The waves show how the vertical and horizontal movements of transversal and longitudinal energies can and do sometimes interact with each other to produce a circular movement, an energy vortex.
Such rotational movement is also found in whirlpools or tornados. In the ancient language of Sanskrit an “energy vortex” is called a “chakra.” In all traditions, the centers of the energy fields surrounding the human body are described as emanating from vortices of energies. By understanding the phenomenon of a wave at sea, where horizontal and vertical energies directly impact each other, you can grasp how the resonance effects of PrimaSounds (a horizontal longitudinal energy) could have an effect on the chakras (a vertical transversal energy). The explanation requires a little more knowledge of the physics of longitudinal and transversal waves.
Longitudinal waves are all matter based and cannot be conducted through a vacuum. That is why, for instance, there can be no sound on the moon. Despite what you have heard on Star Trek, a ship exploding in space makes no noise at all. There is no air to carry a sound vibration. Transversal waves, on the other hand, can be both matter based, and pure energy based. The prime example of pure energy based transversal waves is electromagnetic energy – light. Energy based transversal waves can travel through the vacuum of space. If not, we’d all be in the dark!
Longitudinal waves can be conducted through all three states of matter: gas, solid and liquid. For example, sound can travel in the air, under water and under ground. Not so for non-electromagnetic transversal waves – that is matter based transversal waves. They can only be conducted through solids. They cannot pass through gasses and liquids. It is important to understand why.
For a transversal wave to travel through matter, one section of a body must move sideways with respect to another, and then reverse that motion. This requires a type of force called a “shear.” It requires a countervailing force to bring the portions of the body back into line. Such shearing force is present in solids which have strong cohesive forces between molecules. But in liquids, and especially in gases, the cohesive forces are very weak, and are not strong enough for shearing. If a portion of water or air is shifted sideways with respect to a neighboring portion, additional water or air simply flows in to fill the region left “empty” by the shifting portion. There is no shearing and thus a transversal wave cannot be produced. Instead, the energy simply dissipates into the immediately surrounding molecules and does not travel anywhere.
So, why does it look as if there are transversal waves on the surface of the ocean? The ocean is certainly a liquid.
Here is the key. Although it appears as if transverse waves are traveling on the horizontal upper surface of a liquid, in fact this transversal wave movement is produced by circular movements of the water particles. The water near the surface is moving in a circular vortex! The water moving in a circular path creates a transversal type of energy flow on the surface. A duck sitting on the surface of the ocean makes this apparent.
Again, we have an excellent animation by Professor Russel to illustrate. Note the blue dots represent the same molecules to show their circular motion. You can also see that the motion is clockwise.
The vortex on the surface between the two states of matter, gas and liquid, and the two kinds of energy, is caused by the interaction of longitudinal waves with another energy force. In the case of water it is the force of gravity. This other energy force then transforms the longitudinal water waves from a horizontal movement into a circular movement, a vortex. These rotational energies can exist only on the surface. Below the surface, the circular vortex waves disappear. They are impossible there, and there are only longitudinal waves, currents.
Here’s how it works. The outside force, in this case gravity, resists the up and down shear. Under the surface, within the body of the liquid, gravity does not do this because each fragment of water is buoyed up by the surrounding water. Since the density of each bit of water is equal to the density of the surrounding water, each bit of water has a weight of zero. Under water gravity is effectively neutralized, and so transversal waves are impossible there. If a portion of water under the surface is raised by a shear, it remains in the new position, in spite of gravity.
On the surface of a liquid the buoyancy effect does not exist. On the surface, gravity can interact to counteract a shear and cause the water to move back again into its old position. However, since the energy wave below the surface is longitudinal – that is horizontal “back and forth” movement – its old position when it goes down, is now forward to where it used to be. Then as it goes up again, its position horizontally goes back to where it started.
This back and forth movement creates a circular wave form. The influence of an outside force – gravity – has transformed longitudinal energy into circular energy, a vortex. In the process, a transversal wave has been created, the waves we see traveling on the surface of the ocean. (Note, this is not the same as the waves we see crashing in the surf. That is yet another process.)
A Working Theory for PrimaSounds
We suspect that PrimaSounds work in an analogous manner to waves on the surface of water. It appears that when the frequency of the horizontal (back and forth) sound waves matches that of the transversal (up and down) waves, an outside force or energy is released which causes the sound waves to move in a circular manner.
The matching frequencies appear to be analogous to the surface between two forms of matter, liquid and gaseous. They may well be a kind of gate between two worlds, or a doorway to a higher dimension. At this surface point an outside force causes the longitudinal wave to move up and down, thus creating circular sound waves, which in turn create transversal energy. These waves are neither longitudinal nor transversal, but a combination of both, just like waves on the surface of the ocean.
The outside force which causes this to happen might be gravity, like with the sea. But it might also be the so called “strong” or “weak” nuclear forces that make up the four forms of energy now known to science (electromagnetic, gravitational, weak nuclear force, strong nuclear force). We have found that a person’s gravitational alignment and sensitivity will frequently have a significant impact upon the experiences invoked by PrimaSounds. This points to the importance of gravitational force to this phenomenon.
Still, another force altogether might be involved, one not yet named by science, a force linked to a higher dimension or a unified field of all energies. We suspect that may be the case, because traditional wisdom refers to the chakras as possessing a kind of cosmic energy of immeasurable power, called by the Indians “Prana” and by the Chinese “Chi.” We are unsure about the exact causes. But we do feel that when sounds of a certain frequency – PrimaSounds – are in contact with human (or other life form) energy fields, a circular energy results.
The evidence which initially led to this circular or vortex sound wave theory was the discovery that an unusual number of “standing waves” are always created in any room when PrimaSounds is played. This unusual acoustic phenomenon was noticed right away by the Keyserlings when the music was first performed in 1971. It sounds as if all of the PrimaSound tones are standing waves. This phenomenon in turn suggested circular waves.
For normal longitudinal sound waves, this kind of multiple standing wave phenomenon would not be possible, or at least very rare and uncommon. A standing wave is one which remains in place, with clear position and form. A few, and only a few, standing waves are always created with longitudinal waves in any enclosed room. Which particular frequencies of longitudinal sound will become standing waves is based on the size of the room, and the interaction of the sound waves. Specifically it is based on the distance between the walls, and the phase effects, or interactions, between the waves. For example, if the room is fifteen feet long, then the sound wave which has a frequency that makes it fifteen feet long will be reinforced by the room itself. The sound wave ends at the wall and bounces back to the other wall, touching the wall just when it is reversing direction. Waves the size of one-half the room size, one-fourth, one-eighth, etc., will do the same. The waves as they pass back going the opposite direction to the originating source cancel it out, or reinforce it according the resonance. This is known as a phase effect, and it can create a standing wave.
You can walk around a room and hear where the standing waves are resounding. They have a definite location, and since they are reinforced by the structure of the room itself, they play or resound longer. These are natural, acoustically produced standing waves. They cannot exist outdoors, barring only natural caverns or mountain wall echo effects, where the waves can reverse direction.
This is difficult to understand in the abstract, but starts to make sense when you visualize what is happening. Again, we are indebted to Professor Russel. See his animated gif below and also his web page on Superposition of Waves for a further, and better explanation.
Many investigators have reported that when PrimaSounds are played, many more standing waves can be heard in a room than when other sound frequencies are played. (Moreover some report hearing standing waves outside, but this is more problematical due to the interference of many other factors, such as wind, other sounds, etc. and is more difficult to detect.) It appears as if PrimaSounds produce standing waves – a wall of sound effect – that is not tied to the acoustics of the room itself. Instead, it appears to have more to do with the people in the room and their energy fields. The standing waves are not acoustically produced by reflection from the walls and phasing. They are produced by interaction with the life form energy fields in the room – the chakras. Thus with enough people in a room, all of the PrimaSound tones become standing waves, moving in various rotational patterns.
The rotational wave phenomenon allows us to understand this. If the sound waves become circular by interaction with the energy fields of the observers, they would naturally create more standing waves. In fact, the inherent nature of circular waves would be static, just like standing waves caused by interaction with the walls. Again the example of the ducks on water show this. The ducks are not pushed along following the movement of the wave on the water. They basically remain in one position traveling in a circular motion. First they go up and forward, then down and back. The ducks are like a PrimaSounds wave when in contact with chakra energy. They become circular standing waves.
The PrimaSounds circular standing wave form pattern can be easily verified by anyone listening to the music. Play the music and walk around the room and you can hear definite “pockets” of sound, the places where it is unnaturally loud or quiet. To observe a more subtle, but still obvious phenomenon, just turn or move your head a little. A few inches, or less, will do. The music will suddenly change. One standing wave pattern will be emphasized over another. Some of this phenomena is certainly explained by the slow moving quality of the music itself. This would naturally create more phasing. But it is very doubtful it could explain the whole effect, or account for the number of pockets of standing waves that remain even as the frequencies constantly change.
The smaller head movements usually reveal changes in the higher notes. That is because the waves for higher notes are shorter. The circles would thus be smaller. Conversely the low tones produce longer waves. (The lowest tones you can hear are over thirty feet long!) Thus the lower tones produce larger circles. Here you have to move around the room more to hear the shifts in the low tones.
The effects are also changed by the person or persons observing the effects. The strength of the chakras in the room affects the degree of curvature of the PrimaSounds. With a good sound system, and a good group of people, the standing wave effects can be very dramatic.
This acoustic phenomenon simply does not occur with regular music. These unique listening experiences provide us with an important clue that we are indeed dealing with circular sound waves, a phenomenon previously unknown to scientific investigation.
The circular sound wave hypothesis is just one working theory to explain the standing wave phenomenon and strong energetic-spiritual effect of PrimaSounds. Many other theories are possible and at this point no final judgment can be made. For instance, the phenomenon may be tied to the inner dynamics of the ear itself. Perhaps the standing wave phenomenon is created inside the ear itself, and does not exist outside in the room at all! As another possibility perhaps it is created in the brain itself, instead of the ear. The acoustic processing of the brain is still a mystery. The phenomenon may be tied directly to the brain waves themselves. In that case, the origin would be purely internal and not tied to the form of the sound waves themselves. Some combination of the processes may also be at work.
But, for now, the preferred theory to explain the physics of PrimaSounds remains resonance and circular energies. This is the simplest explanation, and the only one not based on pure conjecture and speculation. The PrimaSound waves are able to excite and amplify our energies because they vibrate at the same rate of movement, the same frequency. The resonance in turn creates circular waves of energies.
This theory of resonance and circular waves provides a clear explanation for all of the unusual listening and consciousness phenomena associated with PrimaSounds. Moreover, there is a certain beauty to the idea that has a ring of truth about it. The circle is the bridge between the horizontal and the vertical. It is the one form which combines both directions in an even flow. A circular form to the energy thus seems to provide a solid theoretical basis to understand how sound waves can have a resonance effect upon the chakras.
Going back to the analogy of the child on the swing one last time may help you to visualize and fully understand how circular energy can be a bridge between transversal and longitudinal energy, between the horizontal back and forth, and the vertical up and down.
Although moving your hands in circular fashion might not be the most efficient way to push a child on a swing, and would require more delicate timing, it would still work to increase momentum. As you can see the resonance effect would still work to increase the force of the wave, and make the child go higher. Try it sometime. It just may hold the key to the secrets of PrimaSounds!
CHAPTER TWELVE: The Ultimate Meaning of PrimaSounds
The chords can provide a musical bridge to your fundamental vibration, your deepest, center tone. From this inner core of silence – pure Awareness – you can awaken to a new harmony with the Universe.
PrimaSounds provide an easy access for people to relax and have a direct experience of their energies. Many listeners go on to do energy work. They use PrimaSounds to strengthen and balance their energies. Some listeners even have strong visionary experiences with PrimaSounds. These usages have real benefits for many. They can help the body and soul to heal. But without the spiritual realization inherent in the Peak Experience, it will not be enough for a meaningful life.
The Peak Experience step alone brings with it the real spiritual significance of PrimaSounds. This alone shows the hidden connectedness underlying all things. Moreover, each of the other steps – relaxation, energization and visions – have deeper recesses which are not available without this spiritual knowledge.
I did not create PrimaSounds, and Arnold Keyserling did not invent the scale, so that people could relax or turn on their chakras. We are not driven to help people heal their bodies and souls. Of course, these are very worthy goals, it’s just not “our thing.” Our aim is primarily spiritual. We created PrimaSounds to make it possible for more people to travel the road of Wisdom. This means to engage in a personal process of evolution. This is the process we call Life Tuning, as described in Chapter 4. Life Tuning requires both the third and fourth steps of mystic union and the visions which follow. Only these unleash the full potential of the music and its listeners – you.
Beware, visions may come before the peak experience, but such visions alone will not work. The fourth stage needs to follow the third. Only in this way will the visions be clear and meaningful. Jumping over the third stage to the fourth – premature visions – may lead you astray. It may be easy, but it will only lead to little visions, to memories. Worse it can lead to out-right delusions. You can have more, much more.
The music is intended to give you more. It can create a personal and direct experience of the Infinite – God. The chords can provide a musical bridge to your fundamental vibration, your deepest, center tone. From this inner core of silence – pure Awareness – you can awaken to a new harmony with the Universe. PrimaSounds can then take you to the threshold of other worlds, the Shaman’s gate. The visions will then be clear and helpful. This is our true gift. This is the ultimate meaning of PrimaSounds. Do not settle for the little visions. Press on until you attain your peak experience.
Unfortunately, it is not possible for most people to do this on their own. Conversely, self delusion and ego inflation are all too easy. But for real achievements, there is no substitute for personal instruction, training, guidance, and hard work. No matter how advanced we may be, or think we are, we all need the advice of people with greater experience. We need contact with the few elders on this planet who have true wisdom to share. We need the help of friends and a real community based on spirit, not money.
Here is where spirit based friendship groups and centers of learning are indispensable. This is one reason I have spent so much of my time and effort since 1992 working with Arnold Keyserling and the School of Wisdom. It is my belief that without instructional centers like the School of Wisdom, and Criterion, and elders such as Arnold and Willy Keyserling, the ultimate meaning of PrimaSounds will elude most listeners. Without such contact it is easy to succumb to the temptation of delusions of grandeur. Beware of this, for if you fall prey to such delusions, you will cheat yourself out of deeper experience and full creativity.
This is a pity, for the truly remarkable qualities of PrimaSounds can only be known in the peak and visionary stages. Only then can it serve as a true tool of Wisdom. In the context of the Wisdom Tradition, where this knowledge is personally transmitted from generation to generation, the music can become truly magical. It can then be used as a powerful tool to discover your deepest dreams, and learn how to make them come true.
Profound understanding is then possible. Ever stronger energies are released and absorbed, and you “find” – actually its more like “remember” – your “meaning in life.” Then you can knowingly join in the dance of life and engage in the world flow of activity which fulfills your meaning. You share your gifts and commune with life on all levels of being. You continue always to learn, to change, and refine your actions. You discover the best ways to “walk your talk.”
Problems and darkness are still a part of life, but you are confident of the solutions and the light. You gradually and naturally sink deeper into your being, your Tao. You flow around all obstacles like water. Your energies are tuned and intensified. Using PrimaSounds and ritual you speak with beings in all dimensions, all times and spaces. You learn how to help them, and to receive their help.
By applying your understanding of why you were born, you effortlessly and naturally enhance your energies. As you carry out your mission in life, the energy field that you are a part of – your energy egg – naturally intensifies. Through creative activity in tune with your depths, ever more profound understanding results. More and more information and help comes to you when needed. A positive feedback loop develops. Still stronger energies are released and absorbed as your actions become more in tune with your meaning, more in tune with the totality of space-time. You naturally become more loving and light. Your life becomes ever more creative, vibrant, meaningful and energetic. You become a part of history, an essential voice in the larger harmony of the planet.
Old age then comes as a joyful time of wisdom realization. The body fades, but you – your energies – your soul and spirit – remain strong. Your soul sings with harmony, intensity and color, at one with the Spirit of the times, at one with the Universe. You face your end on this planet, your “death,” with knowledge and love, ready for the next step. Why else are we all here?
Copyright Ralph Losey 1997