Try to imagine the following device. A 16 inch drum stands on three legs. The drum head is a reflective gold. The edges of the head have been sealed with two types of waterproof sealants. The resulting shallow bowl is filled with 1/8 inch of water. The inside of the drum is lined with fiberglass. A 15 inch speaker is suspended from the bottom of the drum. The speaker is attached to a thirty-watt amplifier and the amp is plugged into the “headphone” socket of an electronic keyboard.
The notes played on the keyboard are conveyed to the speaker. As the sound from the speaker moves upward, it vibrates the drumhead and the water on top of the head.
The vibratory motion of the water produces some very interesting patterns. These patterns include lotus-like shapes. These lotus shapes appear when still water first begins to move (before there is interference from reflected waves) and when a note is flattened.
In The Nature of The Soul, we find:
“I am the Soul. I sound forth in time and space as an harmonic chord. I am the Word made Flesh.” - The Nature of The Soul, Lesson 12, pg. 156
This seed-thought might be considered a vague bit of poetic mysticism. It is not. It is actually a very concise and accurate description of the creative process.
The Soul sounds a seven-fold creative word. As that word moves outward it impacts the light-body of the soul. The light-body acts like a prism and splits the word into seven notes. Those seven notes sound forth within etheric substance arranging themselves into an harmonic chord. As each note vibrates within etheric substance, it sets the sympathetic portion of that substance into motion.
The notes of the Soul share the magnetic qualities of the Soul. Like The Soul, the notes both attract and repel sympathetic etheric substance. The combined attraction and repulsion forms several shapes. The first is a Platonic solid, the “jewel in the lotus”. The second is a double-vortex.
As the magnetic sound of the Soul moves out from the jewel, the outward and inward motions combine with the circular motion of substance to form a double-vortex (twin spirals joined at their narrow base). As the vibration waves move up the vortexes, they form a wheel or lotus shape at the top of each vortex. The number of petals on each lotus is related to the note that created it. A particular note always produces the same geometric shape and number of petals.
When two stones are dropped into a pool simultaneously, they produce waves that travel outward from their individual centers. When those waves meet, they temporarily form a higher wave.
The same phenomenon occurs with the vibration waves moving outward from the major centers. However, since the major centers are continuously sounding their note, the points where the waves meet are always there. Since these permanent wave crests are always there, they appear to be separate centers or sources of sound. These are the minor and minute centers. Each has its own note and vortex, but they are secondary notes, formed by the interaction of the primary notes. As the waves from the Major, minor and minute centers interact and interfere with each other, they form tubes or nadis through which etheric substance flows.
The centers, chakras and nadis form the mental, astral and physical-etheric bodies. These bodies are reflected in time and space as the physical-dense instrument. Thus, “the Word” is indeed “made flesh”.
Now, this is somewhat speculative, and it looks at things from the point of sound and vibration (ignoring for the moment the role of light and color). However, it was intuitively perceived in meditation and partly confirmed by the work of Dr. Hans Jenny and others.
If the above is correct, then a successful study of the motion of sound might suggest the following:
1. How many petals each note produces. Suppose, for instance, that an experimental device demonstrated that, of the seven notes of the diatonic scale:
C has 4 petals
D has 6 petals
E has 10 petals
F has 12 petals
G has 16 petals
A has 2 petals (or petal clusters)
B has “1,000” petals
[Please note that this list is provided for the sake of discussion only. It is not intended to represent the actual relationship between notes and petals.]
This would suggest that a higher octave...
of C produced the Root Center,
of D produced the Sacral Center,
of E produced the Solar Plexus Center,
of F produced the Heart Center,
of G produced the Throat Center,
of A produced the Ajna Center,
of B produced the Crown Center.
In other words, you would have scientific proof of a relationship between the sounds of The Soul and material reality. You would be one short step from abstract knowledge to practical application. You would be participating in the move, from 6th ray aspiration to an abstraction, to 7th ray manifestation. The forms of practical manifestation could include the following.
2. How to use sound for healing: Everyone has their own keynote, the note that is the primary sound of their subtle body. This sound is the note of the center and sub-plane in which they live. The note can be determined by a simple procedure utilizing a piano and a mathematical formula.
Find your favorite octave: Starting with the deepest note on the deepest octave of a piano, play each note in turn. Then play each note in the next higher octave (playing each note with exactly the same beat and volume). Listen carefully and pay close attention to your reaction to each note in both octaves. Ask yourself which of the two octaves you preferred. Repeat the procedure by replaying your favored octave and the unplayed next higher octave. Repeat this process until all the octaves have been played and you have chosen a favorite octave.
This is the octave of the physical/physical-etheric sub-plane that you live in. Your astral octave is in the ultrasonic range, seven octaves above the audible octave. Your mental octave is in the hypersonic range, seven octaves above the astral octave.
Find the favorite note: Starting with C (the deepest note in the octave), slowly play each note in turn. Pay close attention to each note and to your reaction to each of them. Ask yourself which of the notes is your favorite.
This is the physical/physical-etheric note of the center you client live in. Your astral note is in the ultrasonic octave and the mental is in the hypersonic.
Your physical/physical-etheric body would be treated with the audible sound and your astral body with the ultrasonic. You or your healer would apply the note as much as three times a day for not more than three minutes at a time.
Based on: Through The Curtain, by Viola Petitt Neal, Ph.D., DeVorss & Co., Marina del Rey, Ca, 1983, pgs. 103-106
3. Test the Centers by Listening to Them: If each center has a particular frequency on each plane, then we should be able to listen for and hear that frequency. If we listen for the frequency of the throat center at the throat (between C6 and C7 in the spine) we should be able to hear it. If the note it is there, has good volume and is in tune, that suggests that the center is functioning properly. If the note is faint and/or out of tune, that suggests the center is functioning improperly. If the note is not audible, then the center may not be functioning at all.
This would make it possible to quantify a persons’ level of development in a truly scientific way. An esoteric school could, for instance, require prospective students to have fully functional Heart, Throat, and Ajna Centers, and a partially functional Crown Center, before being admitted. An esoteric school could also graduate students on the basis of achievement rather than knowledge (requiring, say, fully functional Ajna, Alta, and Crown centers).
Copyright © 1997 by Glen W. Knape. All rights, including copyrights, reserved.