Beloved Saint Germain Discourse
David Christopher Lewis
August 23, 2009 10:12–11:17 am PDT
Mount Shasta Weekend Workshop
Mount Shasta, California
The Divine Science of Sound
Celestial Music Is Food for Our Souls and Spirits
All music flows from the one Source, the focal point of the emanation of the original Word. Behind the sound, and before that sound appears and manifests, is the soundless sound. This soundless sound is the eternal celestial song of the One, which is a holy vibration, a pure emanation of love.
When any artisan desires to compose music and he or she desires to attune to the heart of the One, that one can more readily bring forth and be a messenger for the emanation of a pure stream that issues from that eternal fount of beingness as an aspect, a facet, of that original soundless sound.
The very turning of worlds creates sound. Where there is no vibration, there is no outer sound. What causes sound and then music is the friction of one emanation or substance upon another. It takes something to pluck the string of the harp or hit the key upon the keyboard, which then hits the string, to cause the sound to occur by vibration. And so this friction, or this grating of one substance upon another, causes an emanation, a vibration. Even in your speech and in your singing, there is an oscillation that occurs of the strings of your vocal cords such that air pressed through and upon those cords creates the sound. Look at every musical instrument and see how there must be brought to bear a certain pressure or delivery of energy that creates this friction in order for sound and then music to occur.
The soundless sound occurs before this friction, or this dual nature of beingness, manifests. And so, in a sense, all music is an action of creation whereby there is the differentiation of the One into two or more through this action of friction. Now, the friction does not have to be a negative thing in the sense that it is not beautiful. It simply is the interplay of two forces or substances, one upon the other, that then promotes the vibration that we hear.
Celestial music issues from the Source and is then stepped down in a tonal qualification through many worlds. Each solar system is composed of a sun at its core and then other planetary orbs surrounding that central sun. Each of these planetary orbs has a sound, a vibration, but all are children of that one sun. And there is a tonal quality of each one of the planetary orbs that issues from its source, which is the sun of that system. Every sun is also a child of a greater sun and a greater system of energy and light. All of this issues from the Great Central Sun, which in our understanding, as best as thought can cognize it, is God, as we know God, in that God is undifferentiated, beyond the beyond, beyond human understanding, even beyond light itself.
When you look at the word music, you see the word muse. A muse is one that is not just amusing, but is inspiring. Many call to muses to inspire them, to receive the celestial songs and vibrations that can be codified into beautiful music. The muses that we know as the Elohim are the creators of worlds because they understand all of the divine sciences. And music, vibration, is the very beginning of creation itself as an emanation of light-sound.
We have the choirs of angels. There are nine that we know of. They are the seraphim, the cherubim, the thrones, dominions, virtues, powers, principalities, archangels and angels. In our prayer to the nine choirs of angels within our Rosary of Faith, we call to them. They emanate from out the Great Central Sun, that central point of beingness of God, and step down the frequencies and the power of that Great Central Sun through their particular differentiation and expression of those energies within their choirs.
Those closest to the Great Central Sun carry the most intense and highest vibrational rate and frequency. As that energy is stepped down into other dimensional planes, the music can be heard by lesser-vibrating lifestreams, such as us. We cannot hear with our outer ears sounds that even animals, such as dogs, hear because we are not sensitive to that range of vibration. Angels and higher beings hear higher frequencies than we can hear and they glory within them and actually feed off of that sound.
For celestial beings, music is food and nourishment. It is that which can be incorporated within the very essence of their beingness to sustain them. For within this level of music, light-energy and sound-energy are incorporated within the vibrations such that it is truly a divine type of nourishment.
How often have you experienced listening to music that nourishes the very cells of your higher spiritual being? You can go for hours and hours without outer nourishment or food because that music, in its divine essence, is light and sound energy that sets up a frequency and an oscillation of vibration within your being that sustains your cells in the structure—the very celestial structure—of your Higher Self.
Music is a great nurturing and nourishing energy. Those of you who can truly cognize and understand the very nature of music can see how important the sound is—the tonal quality, the essence of it—to the sustaining of life itself as you.
Can you really live without music? Some people can't. Even the youth carry their iPods and their ear buds, and it's almost as if they have this need to be plugged in, to always have music flowing into them, through them. And they spend much of their time and energy talking about, sharing, sending various creations of music and types of music to each other and talking about it. It is a part of the culture of today and has been for generations.
What would life be without music? It would be devoid of color, and I don't think we would have joy or fun or the nourishment that we require in order to sustain ourselves as spiritual beings. So music is truly food; and angelic music, celestial music is angelic and celestial food for our souls and our spirits.
Every ascended master has what is called a keynote, and you have a keynote. It is a cosmic conception of your reality in its expression through vibration, sound and music. That keynote keys you into your highest Selfhood in God. It is expressive of your very Buddha nature, the essence of who you are. It incorporates the fullness of the celestial stream that is your personal individualization of the God flame—your mission, your vision, the very core of your beingness. And when you are true to the divine worlds, you may be able to hear the soundless sound behind your keynote and then its expression as a most beautiful melody and harmony, the wafting of chords and notes, a most wonderful composition of beauty.
So each of you has this keynote; you have an aroma; you have a tone, and you are known of and by celestial beings by the particular tone that you express at the soul level and at the spiritual level that is you—your snowflake within the universe. This expression of Godhood who you are can be rendered in many ways in your life, but at its core it is your personal celestial song that keys you directly to your Source and allows the Source to key into you and to utilize you as a co-creator for God's beautiful renderings and expressions throughout the cosmos. It's almost as if God is playing you, and yet you are not a puppet, but a divine instrument for the hands and the voice of the Divine One.
We will play now from the Ninth Symphony of Beethoven the “Ode to Joy” because this is the keynote of Gautama Buddha, the Lord of the World. It's interesting that it is called the “Ode to Joy” because at his core Gautama Buddha emanates a field, an energy pattern, of cosmic joy that sustains this Earth in its rounds, in its cyclic circuit around the sun. And you and your celestial song sustain you in your orbit around the Sun of your being and of the higher Suns of being in the celestial hierarchy that you are attuned to and that you receive direction and nourishment from.
So Gautama, when we listen to his music, can radiate his vibration of Buddhahood, his attainment of great God-power, wisdom and love in perfect balance. For his threefold flame, his heart, sustains—through contact with each one of our hearts—that thread of contact by which we have life and we have opportunity to live and move and have our being as sentient beings upon this Earth. So let us attune to the vibration of the heart of Gautama as we listen to this music.
[Due to technical difficulties, the instrumental “Ode to Joy” is not played. Instead, the messenger and audience sing song 23 from the song book, “To Lord Gautama,” set to the melody of the “Ode to Joy.” Then a participant sings the song in Spanish.]
Participant: Thank you.
Messenger: Thank you.
Participant: I had to sing it.
Messenger: There is a different qualification of music when it is instrumental only and when the voice and lyrics are added. The qualification when these are added brings a different dynamic and beauty to the music itself.
It is interesting to note that Beethoven was avant-garde in that voices were added in the Ninth Symphony during the fourth movement, for this was not done in symphonies before that. He attuned to the heart of the Divine and allowed, through the music of voice itself, an energy that was the epitome of joy to be understood and felt in new way. The poetic words of Schiller that he put to music were an expression of the very freedom that had to come forth through that music and through those voices. It was a testament for the German people of that which they could have embraced in the subsequent century to prevent the great darkness that was to come upon them through Hitler, etc. Yet this testament from Beethoven lives on. And every time that music is played, it magnifies God through the Presence and the electronic beingess of Gautama Buddha, the Lord of the World; and his energy, his field of vibration, his heart can be felt; and the welling up of this energy of freedom is there.
Thus it is so for much music that is inspirational and was inspired directly upon various messengers of music, such as Mozart, Bach, Brahms and many of the classical composers. Unfortunately, today much of what has been called music is simply a cacophony of noise rather than an expression of this celestial song that conscious hearts attune to, draw forth, magnetize and then deliver through their personal expression.
Arias of love carry a vibration from higher octaves of God's energy as love into the very atmosphere where those arias are played and sung. There is a divine thoughtform created above the Earth in the ethers when these wonderful celestial songs are brought forth. These thoughtforms impress themselves upon our chakras, our electronic body, and this is the food, the nourishment, of our souls and spirits that we simply must have to live a life of joy and beauty.
[Note: Discussion with A.V. here about technical problems playing something a heartfriend sent.]
What the Master would love for us to do is for each one of you to sing a tone. [laughter] We can go around the room. It can be any tone—a la, an ah, an OM, anything. Whatever comes naturally in terms of the note, wherever your voice normally modulates and resonates, that may be the tone that is expressive of who you are, the first sound that comes out of your mouth. Just as a baby cries when it is born and there is a tonal quality to that sound and that vibration, so when you open your mouth to speak the first sound or word of a given day to anyone—to God, to your partner, to yourself, to the universe—that tone, that sound can be expressive of your vibration.
I think this is an interesting experiment. You don't have to engage in it if you are fearful or you don't want to do this, but I think it would be a very interesting experiment for us to be sensitive to and hear the sound that each one would like to make and share with this greater circle.
For those of you who are listening on the broadcast, we are in a circle now. There is a reason for this, and I always prefer the circle at our events. So why don't we start with Eric and then go clockwise. Whatever comes to you, just one tone. It's not an aria or a song. It's just one particular note with any qualification of it that you would like to express in any way. And sustain it just for, let's say, three to five seconds or so, and let us hear who you are through your voice.
[Participants take turns sounding their tone.]
Now we are all going to do it at the same time. [laughter] If you can remember what tone you had, replicate it, and this will be our celestial choir for this morning. [laughter] Ready?
[Messenger and the audience sound their tones together.]
Beautiful. [laughter] Let's do it again. Together.
[Messenger and the audience sound their tones together again.]
This is the power of love expressed through your heart and through your voice. Did you notice how some seemed to qualify the sound more from the heart, some more from the soul and some with a little higher vibration or tonal quality from the mind? It's all good. It's all beautiful. There's no labeling or judgment there. It's just kind of what the feeling is when you hear it. It is beautiful how each one has a different expression, whether it was an OM, an ah, a little song, a tremolo, or a little more of a trill in some voices or a vibrato. Each one was a unique differentiation of light and sound through your voice using the throat chakra, but also expressive of your own nature.
So you can experiment with sound and music through mantras, through various pitches or notes and see and feel what the effects are upon your being, your chakras, your consciousness when you move sound through your vocal cords and you allow the movement of sound and music and tones to go up and down various scales. Singers in choirs who practice the scales can notice the effects on all of their chakras as they go from a lower scale to a higher scale.
So let's try this now. If you can keep on pitch with me, we will do an exercise that we did in a choir that I was in. You start pretty low. If you're a woman, you probably want to be an octave higher than where I'm starting. Some men may not be baritones or basses, so you may want to start higher. See if you can go with the movement of sound up the scale and then down. So the scales are eight notes, and we go up to the eight, which is the octave, and then down again. So we'll use the la as the sound that's coming out.
[Messenger and audience sound the notes of the scales, going up and down.]
If you have to drop out, feel free, but we'll go a little higher.
[Messenger and audience sound the notes of the scales at higher tones.]
Now, how did this feel? Did you notice the effects on your chakras? If anyone has something to share, ask for the mic and tell what you felt in your being.
Participant: I felt wonderful. That's it. It felt wonderful.
Messenger: It felt wonderful. Good. Well, this is Music 101 for choirs. [laughter] Not quite. Now, we can do other tones, like moo, and they have a different effect. So we'll do moo. We're not cows, but this is Lemuria. [laughter]
[Messenger and audience sound the notes of the scales with the sounds of moo, nay, no and nee. ]
Messenger: Any other comments?
Participant: It felt like the different words you used played a different strain in your feeling body. The la was more centered within, and then the other tones felt like they were in the feeling realms around your body, but moo... Moo was here and somewhere else was the different...
Messenger: Right. There's a seed syllable for each chakra, isn't there. The Buddhists and the Hindus understand this science. After we have comments here, we're going to go to our prayer book and experiment with this. Do you have something?
Participant: What he just said about the different tones being on the different chakras, it really does feel good to do that.
Messenger: Right, okay.
Participant: My organs, my body felt like it was moving away. It didn't want to feel the no at all. Like it shut down.
Messenger: I wanted to say yes, yes, yes right after that. [laughter]
Messenger: It's interesting, isn't it? So the word no has a vibration that's putting up a barrier, isn't it? Even within us. Okay, what else?
Participant: That was basically the feeling. When we were saying the moo, I felt very shut down, but then when we said the nay, it was like my whole body just opened up. It was nay, nay, nay, but it was open. But it was still not there. I just feel like it still doesn't reach where I need to be, where I really want to open up my whole body. The different sounds did feel more constricting.
Messenger: Right, okay.
Participant: ... It was kind of like stepping into a somewhat unfamiliar, untested or fear-based kind of thing. So in the beginning you asked if we could go around and share a tone and we could have the freedom to pass. My ego did say, “Just say pass. Just move it along. There are a lot of people and I have a lot of good reasons. Let it just go, go, go along.” But I said, “Just drop it. Who cares? The only one that matters is me, so offer that.” And then I'm still aware of the octaves and it's a program that I'm working through.
Messenger: Good, thanks for sharing. Now the ah, as I understand it, is the tone of the heart. So let's all say ah and see if you can feel this tone resonating through your heart chakra and what the effects are as we do it. You can be on any tone, but we'll just do the ah, whatever is comfortable for you.
[Messenger and audience sound the ah.]
Now feel the difference when we do an OM and were that resides.
[Messenger and audience sound the OM.]
You felt it was the third eye? Okay. Did somebody else having something to say, share? Okay, go ahead.
Participant: ... like I was going into the temple space of inwardness, and the ah brings me into the world. And I'm noticing now with these scales that we've been singing, it feels like in the music is a programming of my body and my chakras opening up more and more. I'm noticing from the bottom all the way up that it is a warmth, it is a life-force energy that is beginning to warm up and flow and move naturally up, all the way to the crown. I think if we sustained the tone longer, the crown would be humming and trembling too, just like the strings of a harp or a violin. We're that delicate inside, and sound moves us forward or certain other sounds could move us inward, tightly inward. So I appreciate going through these scales.
Messenger: Now, some of you who have been—oh, go ahead, go ahead.
Participant: With the ah, I definitely felt the heart. And, as a matter a fact, with the previous tones I kept wanting you to go right to ah, to the heart sound. And with the OM, I felt as if my head was hollow. It was empty, third eye, crown. And when you did the octaves, I noticed the clearing that we did from yesterday and the previous work because I was able to go higher. It surprised me, actually, how high I was going in my tones. I can feel the clearing, in other words.
Messenger: Great. Thank you.
Participant: I felt like with the OM that it was, I want to say, in the hara center, in the soul, deep down. And, like the lady said here, if we did it longer, it might rise. It's like gathering your energy. It felt like it was in the process of building and gathering energy before it was distributed to other chakras, so to be speak.
Messenger: Yeah, good.
Participant: I definitely felt the chakras from the ... So I felt them vibrating as we were doing that. And at the same time, when we were doing the moo, the song of cow, I wanted to do other animals, [laughter] like the horse and maybe cricket and maybe [makes funny sound and horse sound] or other stuff. So it definitely would have been nice to do those. Maybe we can do that now. [laughter]
Messenger: Yeah. What's that joke about the cows? Oh, go ahead.
Participant: I just wanted to say that I enjoyed making sounds with all of you because of the sense of community. Each one's sound gave me that. More were in my heart than others, like the ah. And the OM really took me higher. But it just gave me such a sense of community. And the ah together, I just felt everybody's heart, like we were united as one. So it was really special.
Messenger: Well, when we did our individual keynote, though, and we all did it together, I felt the highest vibration from that because it was spontaneous. Every person's individual expression was there. Even if we were to analyze it mentally—people may have been all different pitches, but the harmony that was created was incredible. It was substantial. To me, that raised the vibration of the room more than anything else. The ah was absolutely beautiful too, but I loved it when all the individual tones blended together. Did anybody else feel that? Yeah, it was wonderful. Okay, anybody else.
Participant: I was going to share that sometime ago, someone who was leading a chi kung session gave us an understanding that when we say oh, it activates and causes a greater flow of energy to your hands and your feet, especially to your hands. And so when we say the oh—and I was practicing this quite a bit for a while—it's just as if, wooshhh, it goes right out my hands. I can feel the energy go right out my hands with just ohhhh. See, it never fails.
Messenger: Well, as—oh, go ahead.
Messenger: Yeah. That's great. Well, we could do other animals, but [laughter]— “Old McDonald had a farm, E-I-E-I-O.” [laughter] It's one of the children's favorites.
In our mantras, 8.001, the chakra meditations, we have the seed syllables with Namaha, and the energy goes from the base to the crown as we go up. Actually, let's do the bottom ones, the bija mantras: AIM, GLOUM, HRIM, KLIM, SOU HU, SHRIM, OM. Let's do those, and see if you can feel the effects of the vibrations on your chakras, beginning from the base and then going up.
After this I want to invite Eric to share with us a little bit, because obviously he's taken voice training. There is a whole science to sound resonating in your head and the channels and the canals of your head and how to bring that sound up from the diaphragm as you breathe from the diaphragm. This science involves emitting sound through the throat and also bringing the tonal quality and sound up into the head. This is how you are able to sing some of those higher sounds. So we will start with this, the bija mantras.
[Messenger and audience sound the bija mantras.]
Before Eric shares with us, Saint Germain is saying that sound itself and music can heal any condition. If we understand the science of vibration and sound and have an understanding of the vibration of each sound, and if we can attune to the frequency of a particular organ in our body that may be challenged or having a problem, we can actually vibrate the cells within that organ to bring them back into perfect resonance, harmony, health and well-being.
There's also the science of joy. You may have seen the movie Patch Adams. Many of you know that Hasya yoga—joy yoga, laughter yoga—is absolutely wonderful in its effects on the health of the body. So let's just take a moment before we move into another teaching to do a Buddha belly laugh and really let the bellows out and see how the vibration changes and how you feel afterwards.
[Messenger and audience laugh heartily.]
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