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Heartstreams Database-Messages From the Ascended Masters

Nada Rayborn      August 06, 2011

David Christopher Lewis (Inspired by beloved Nada Rayborn)
August 6, 2011   9:15–9:58 am local time
Solar Evolution through Divine Music
Bollnäs, Sweden

Darshan with Beloved Nada Rayborn
on Folk Music and the Spiritual Activities Brought Forth
through Singing, Dancing and Harmonizing

Participant #1 [question repeated by David]: Can you explain the inner workings of Scandinavian folk music and how it can help us with our Solar development?

David: Much of folk music in many cultures, including Scandinavian folk music, involves a certain levity through the joy of a storyline that flows through the music. The story might be about past history, events, love, relationships—some gone awry, some still in the process of evolving. This storyline contains a message that is shared through the music, and within it there can be both conflict and resolution; and this in itself is the dynamic that allows there to be transmutation and transformation.
            If you look at a song in any folk music and observe the story that's within that song and allow it to wash upon your soul, you may feel that at some point or another in your own soul journey you experienced the same situation—whether it's the story of a loved one, the loss of love, the gaining of love, some individual that came into your life who was meaningful to you. Using the storyline as a point of entrée into that past situation, you can go back in time and transmute the pain, the sorrow that may have occurred in past relationships or even in past lives. And when you resolve that past situation, you are that much freer to evolve and move into a higher state of consciousness and a higher divine state of beingness.
            In folk music the songs often name individuals. And although the names change, the dynamic of what was experienced is often very familiar to many people. You could substitute different names or even your own name and the storyline would be very similar either to what you or someone you know may be going through now or may have gone through in the past.
            So, when you listen to a song, move through that song to the higher message that is beyond what you observe in the drama, in the lives of the individuals, and attempt to see it from the perspective of your Higher Self. The storyline might be, “Someone wronged me,” or “I wronged them,” or “Someone had this situation and . . .” When you put the violet light and the light of transmutation through the song and the storyline, you can dissolve the energy patterns of human imperfection that it represents and you move into divine resolution and a divine experience.
            Now, some songs are just fun-filled opportunities to be with others and to dance. And when you experience this, there is levity—the levity in the movement of energy through the song and through the dance that allows you, through happiness and fun, to also experience God in another, in your dance partner and in your friends. This is camaraderie and it is a certain level of communion that is acceptable in the human experience. Now, see this activity as emblematic of what it could be in the higher octaves when ascended beings commune and there is the dance of energy fields, there is the dance of light frequencies of the holy radiances of God that flow between these great divine beings. And when you can accept this level of communion that is a higher form of universal love, you also transmute what within the folk music may be still at a level of human imperfection and you move it into a higher arena of spiritual levity and light.
            Now, the master is reminding me about a passage that I read recently in one of Omraam's books,1 and I'll share what I remember of it. Omraam was explaining how in the higher octaves we're divine beings and we don't marry, we don't require the same level of relationship between a man and a woman. We are like spirits, like angels; and when angels meet another angel they actually move right into each other—their energy fields go right into each other's and they experience the love of each other's Presence without having to have what we have in this life as sexual intercourse. It is a divine intercourse that is just the movement of frequencies and energies between these powerful angels and their beings. So, angels are not involved in the giving and taking of partners, and it says this in the Bible.2
            So, a lot of folk music revolves around stories of love and relationships. And we can transmute what we see in this dimension into that higher level of angelic living where we can interact with, we can dance with, we can flow with others in movement, in dance and song, and we're simply in light. We are in the state of divine love and we just interact with each other and there is a free-flowing of energy and love. And it is powerful.
            So, the master gave me that vision for us to use in our understanding of folk music. Does that answer your question somewhat?

Participant #1: [response not audible]

David: Okay. I think she was expanding it beyond just Scandinavian folk music to all folk music for anybody who hears this teaching or reads it in the future.

Participant #2: Beloved Nada Rayborn, is there a relationship between singing in harmony and the expansion of the threefold flame?

David: Yes is the short answer. The longer answer is that when you have three voices that are equal in their ability to project, to release waves of energy and the power of light through the voice, when they are really all co-equals and they partner with each other in harmonizing, there is a balanced action of the threefold flame through the triad—or the chord, if you are singing in harmony, let's say the root, the third, and the fifth—that brings within the atmosphere an action of the threefold flame through those voices and through the notes that they sing as a powerful matrix. And it actually aligns energies within the atmosphere through the power of the balanced voices.
            So, when songs are sung in harmony in this way, there is an expansion of the balanced threefold flame of all three singers. What happens is that all three voices allow there to be a balance of the threefold flame within each individual. In other words, in every triad the two other voices complement the third and help to compensate for what may be a lack of balance in that individual's threefold flame. And likewise, that one's voice helps to compensate for any lack of balance in the threefold flame of the other two singers, so that between the three singers the power of love, wisdom and power and the energy uplift through them helps to compensate for what is lacking and actually brings everything into balance —when those voices are sung in a beautiful harmony, where one voice isn't a lot louder than the others, and where they're equal in their representation and their issuing forth.
            And so, there's this beautiful harmonic of the compensation between the three partners, first of all, and then harmonically and energetically it also balances the atmosphere itself. And what the singers are creating within the atmosphere where that music is sung is a beautiful divine aroma of the Spirit, a beautiful coloration of the threefold flame—because the threefold flame has color, it has sound and it has aroma. And so, the aroma is like a beautiful intertwining of three different essential oils of heaven, angelic essential oils, that weave themselves in a beautiful array of divine odor, or aroma, that blesses life in that area. And the colors blend, too, because each voice is also a color. You may not think of it that way, but each voice has color and tone, and tone is an aspect of color also. So the tonality of the voices brings color into play, and it's a light display, it's a light-color.
            So, at different times one or another voice may project at a higher volume and the others recede, and then another voice may become louder and the others recede, and the same with the third. As long as there is an interplay wherein there is equality in the dynamism of the three voices, then at times if one voice is emphasized over the others, that's OK as long as there is balance. In other words, you can't have just one voice that is always emphasized, because that doesn't allow for the balancing of the threefold flame.
            Now, you might think that the voice of the soprano or the voice that carries the melody would always be emphasized, and that is true in much of music. However, in a true threefold flame triad experience, which I'm speaking about here, there has to be the interplay; otherwise the lead or the melody or the star performer is always the star and the others don't get to shine. In heaven everyone gets to shine. There's not just one star; everyone is a star. So, what we can learn from this is that at times the other voices, whether they're baritone or bass or tenor or alto or a lower soprano, if you have a mezzo soprano—in any of these cases the other voices also get to shine in this triad.
            So, the master is showing me visually that when you have an interplay of the voices in this way, there's a balanced threefold flame and it creates a beautiful atmosphere. And based on the power of the projection of the voices and the mastery of the singer, sometimes this atmosphere can extend out for miles or kilometers beyond the immediate atmosphere where the voices are heard. If it's someone like the Great Tenor or the Lady Master Nada Rayborn, their projection is so powerful that it can be heard in far-off areas well beyond even the limits of a city. And the melodic strains of their voices, the musicality of their voices, the mastery of their voices is such that an awesome light-energy is released through their voices—and it is the higher voice.
            So, when you master your human voice and then let go of your human voice, the divine higher voice comes into being. In any endeavor, in any creativity, in any field of artistic expression, you come to the point first of mastering the mechanics of it, the dynamics of it. And it's like in ice skating, where you have the mechanics and you have the creativity and the skaters get judged on both by the judges—both the technical performance and the creative aspects of it. The same is true in singing. You have the mechanics of being able to stay on pitch and having a vibrato where the wave pattern is perfect. Then you have the musicality of the expression and the quality of the voice and the intonation that moves that wave pattern into a higher energy field. And once you experience that and you master that, then you offer your voice only for the divine experience. And then the higher voice kicks in, so to speak, and is superimposed over your voice, and the divine experience of this higher voice is shared with humanity. And that is when angels sing through you, that is when your Higher Self emanates through you, that is when the Divine Presence and its beautiful, pristine tonality and the chiming aspects of heaven flow through your voice.
            So, some of you have experienced a stillness within to the point where, after you've been expressing yourself through devotion to God through your voice, you almost feel that a new voice is coming through you. That's the voice—the “still, small voice”3 that we talk about. The still, small voice is the conscience. And when you let go of your voice and allow the still, small voice to be heard, then that still, small voice is no longer still or small—it is magnanimous, it is beautiful and abundant and actually rich. I won't say loud; it doesn't have to be loud but it is rich, it is full, it is expressive. And it can either be loud or soft, depending on the quality of light that is shared in the music at each point in the melody or in the harmony, if you have a harmonic sharing of a number of voices.
            So, this is really one of the key things that the master desired to release—that the still, small voice doesn't have to be still and small. When you listen and you are totally in attunement with your Christ consciousness and with your conscience, the voice can be a normal voice. It can be heard just as any voice can be heard; it doesn't have to be a pipsqueak voice that you have to strain to hear. And that's what we haven't realized in the past—the still, small voice can be heard as clearly as the voice of your best friend. And God is your best friend, your Holy Christ Self is your best friend when you allow the still, small voice to be heard and you listen and you obey.
            I've never heard that teaching anywhere else—have you?—that the still, small voice doesn't have to be still and small forever. What a beautiful concept!

Participant #3: Please explain what you talked about earlier, about the three people singing together and that they should each sing a little bit different—for example, one bass and the others higher. I understand that. But . . . should they get more complicated, as we did in a seminar where we tried to do formations? That if one is singing a C, at the same time the other is singing C; C, G, A; C, G; and then the third one is not singing a C but another note, like E or G—is that what you mean?

David: Well, if you listen to the Vera Choir CDs, there are many voices. And Gilles Hainault, who is the conductor, has also composed many of their songs and the arrangements. He's arranged the songs and the voices within those songs so that there is a musicality in the flow of the melodies and the harmonies that is beautiful. And if you listen to their choral music on the radio or any CDs that you may have, you'll see how there's a changing and a flowing of these voices, these different voices.
            And that's what the master is showing me and that's what she desires us to realize—that yes, you may have the diva who has an awesome soprano or mezzo-soprano voice that's normally the lead or the star performer. Yet, in heaven, when you hear the choirs of angels, there's much more of a flow of all the voices interpenetrating—an interlocution and representation of all the different voices, which at times have a higher volume coming in and then they recede, and then another voice comes in at a higher volume and then recedes, and so on.
            And it's this interplay of the voices—lower voices, medium-range voices and higher-pitched voices—that brings that creative action into the dynamic that actually balances the threefold flame. Because if you only have the diva voice all the time, then that plume of the threefold flame is higher than the other two. The master is showing me this in answer to the question about the balance and if the threefold flame comes into play. Now, this doesn't mean that that is always the case. The diva or the lead may still have the melody, the main starring line and role, as Nada Rayborn did when she was a diva. But you asked a specific question, so that's why that answer came forth.

Participant #4: I want to ask the master about something I've been thinking of for many years, and this is about what I feel in myself, what we were talking about earlier about the Presence in myself, that I've been very interested in organizations, in people getting together in the places where they work. And that is my big interest—to find out what is the problem and what's going on, and so on. But I think now, since I've been singing in a choir, that my question is about vibrations. So what I feel and what I believe now—but I want to ask the master if I'm right—I think the vibrations in us, for example, in here also, depend on how we get together. And if we don't have consciousness about it there can be big problems. I find that it is so very easy when we can find out the reasons and we can be laughing at it. And we can take music as the tool to find out how to get along better and to get understandings for different levels of vibrations.

David: Well, the master is showing me that industry, commerce and business would be much more productive if people actually took time to get to know their co-workers more and if they sung together and if they harmonized by finding ways that they could enjoy each other's company as people and not just as workers—in other words, as individuals and as a collective rather than just being off in their cubicles or doing their own work. There can be much more collaboration, more creativity and productivity when people harmonize, literally harmonize in the workplace by harmonizing their vibrations in creative ways in business. If top leaders of the business created forums, such as for music or sharing, where people could have even ten or fifteen minutes together every day where they just share, be together, get to know each other, and dance or whatever, they would be more productive, because the flow would then enter the equation.
            I remember seeing years ago in Japan that the workers would get together and exercise together. They would do calisthenics or different things, and they would do it together as a group. And even that, even though it is a little more mechanical, did create an aspect of this dynamic, of this collective or togetherness, that was powerful. And the Japanese in industry are very efficient in that way in many respects.
            So, where people don't know each other, they don't know each other's families, they're just sitting next to each other and they do their work and there's no interaction apart from the work, there's not as much energy, not as much positive energy for them to be productive in the highest way. There's not the coherence.
            So, where you have understanding by getting to know each other and interacting creatively, you build coherence, and that in itself will help to benefit the goal of whatever in business or relationships you have in industry or your job or your vocation. It will help those relationships to hold together, to be more harmonious and to be successful. This is true in any relationship—any relationship. So you can use this understanding with families, with loved ones, with children, in schools, and so on.
            I've observed—and this is me talking rather than Nada—I've observed my own daughter in her school. It's a small Catholic school and the children all know each other. Basically, they know everybody in the whole school, first grade through eighth grade. It's a small school, and some of the classrooms only have four or five children and some have twelve or fourteen, but that's it; there are no classes that have more than fourteen children. My daughter is going into fifth grade and she knows the name of every person in the school, from first grade to eighth grade. And she knows a little bit about them; she's interacted with all of them. So, that builds camaraderie. It builds a family spirit that is powerful. And there is coherence there as a result, and that is a positive energy and it allows them to be expressive and creative and have fun and learn in the process.
            So, if we create learning environments within our businesses, they are much more effective and powerful where people are constantly learning and growing in their own soulfulness and their own capacities and they feel valued. And they are much more productive as a result, because they are invested in the business because the business leaders invest in them—in both the individuality and the collectivity of the people.
            So, I hope that helps a little bit with what you're saying.
            In regard to whether they could bring music—now, everybody may not like the same type of music, so that's the conundrum in business.

Participant #4: I think you have to have a good leader who understands what's going on in the group.

David: Yes, they have to have a good leader to understand.

Participant #4: I know about the vibrations we have, each person, and what happens between us—that is also music.

David: That is music. The interactions are music.

Participant #4: That is also music, because if we're singing soprano, tenor or whatever, these are different frequencies than if we are not singing. But we have frequencies inside, and it's very interesting to see how we could talk to each other and how we find each other.

David: Well, what the master is showing me is that where there is respect for every person in the corporation or in the business no matter what their training is or their level within the business—where there is respect, there is cooperation as a result. And cooperation is harmony energetically in many dimensions. So, cooperation is harmony; it's another definition of harmony
            So, yes, every business has music. It's the music of the interaction of the vibrations of all the people in that business. And when there is cooperation, there is harmony. And what you need in order to have cooperation is respect for every individual at their level, no matter whether they're the janitor or the CEO. If the CEO knows the name of the janitor and knows about his family when he talks to him, can you imagine what that would do for that janitor to feel valued and loved and appreciated? And it's the same with every person in the business. If the CEO is only in his office, separate from everyone else, and he doesn't know his people, he's not a good CEO.
            So, get to know your co-workers and love them. And if you have issues with certain people who don't seem to be happy or they seem glum or grim, send them light! Smile and talk to them. Sometimes just by talking to a person you can help them to feel, “Wow, that person appreciates me. They asked a question about my family. Maybe he's/she's not such a bad person after all.” Just talking to people—really, they appreciate that.

Participant #5: I wonder, when you are singing or making AUM intonations and you hear these overtones, is this created by the tones themselves or is it coming from others, from angels?

David: Well, you create the sacred space for the overtones, which are angelic voices, to appear and to embellish and to support what you're doing. But the overtones are not just there without your conscious application of the science of the Word. In other words, you create the sacred space for them through your voice.
            The overtones typically happen more when you have more than one voice. If it's just one voice, you don't often hear the overtones, but when you're decreeing or singing with another, that sets up the flowfield where you can have the overtones and other angelic voices blending with yours. Now, it can be that you invoke your twin flame, and that's another voice and that creates the space for the overtones if you're decreeing by yourself. Have you ever heard those overtones when you're just decreeing by yourself? [“Yes.] Well, that's because your twin flame was with you. But typically, for most people to be able to hear those overtones, it's a lot easier when you have at least two voices decreeing together.

Participant #5: Can we do that?

Participant #3: Can we chant an AUM and hear the overtones in the AUM?

[Participants chant a long, low AUM together].

David: Now, here's what you've done. The Buddhists know this science. Have you heard some of the Buddhist monks chant very low? You also may remember a dictation that Padma Sambhava gave through me a while back4 where, at the very end, he intoned the AUM in a certain way. And I didn't know what I was doing until later, when I saw a video about monks who tone very deep and actually produce three tones at the same time through one voice.5 They have the ability to actually produce three notes simultaneously through one voice. It's awesome. They practice for years until they master this. So, what that toning does is to set up a harmonic so that a threefold action occurs through one voice, and then this overtoning can be heard. And the resonance is phenomenal when that happens. You might think that they don't really know what they're doing when they're chanting so low—it's down very low—but they have found a way to somehow isolate three different cords in their vocal cords to allow them to tone three different notes at once. I saw this on a video and heard it explained.

Participant #5: And if you ever have the opportunity to listen to [. . .] when you are in church with him and he is singing and performing, you can feel that it's angelic and it's circular, kind of spheric, and yet it's only one voice.

David: Well, he's overshadowed.

Participant #6: I read about a technique for how to do this, so perhaps it's not angelic if there's a technique to do it.

David: Well, it can be. It can still allow angels to be there.

Participant #7: You do something with your tongue, and you go back and . . .

David: Yes. Well, the monks practice for years before they master it.

Participant #5: But what I was asking about is, when there is a choir, and you both can see and hear a sphere over it, what is that?

David: Well, it's an angelic choir. I've heard them, and the first time I heard it was when I was decreeing with two other people who were singers, and they both have perfect pitch and I have perfect pitch. And when we harmonized, when we decreed together, you could hear other voices; you could hear overtones and angels that were singing with us. At times it was one other voice and sometimes it was many voices. So, you create the space—you create the space by your love, your attainment. And in some cases your twin flame is there, too. And if you have the mastery of what I just shared that the monks do, where they actually can have these three notes simultaneously, that also creates that space. It's like the Tibetan bowls and the Tibetan bells. When you ring them it creates an awesome oscillation and toning and that in itself sets up a vibratory field that's very, very energetically powerful.
            You see, our voices, our heads are resonating centers. Who's studied voice here? If you've studied voice, you know how you breathe from your diaphragm but your voice goes into your head and you resonate through the cavity of your head. Did you ever learn that from your voice teacher?

Participant #5: Yes, and there are different ways to make different voices.

David: Yes, you're right. But your voice isn't just projecting from up here, from the area of the throat. It's projecting from down here, from the diaphragm, and then your head becomes a resonating center. The sound spins through your head and then it's emitted. So, it becomes very powerful when you're able to do that. And the way that some opera singers can project is awesome. Did you get your question answered or are you still wanting to know more?

Participant #5: Well, I could ask you more about it.

David: Not everybody hears what you hear or sees what you see, but you know what it is.

Participant #5: Sometimes you can break through to different kinds of worlds.

Yes, you break through to different worlds, higher worlds and dimensions. And you smell more, you see more, you feel more and you hear more.

Participant #5: And when someone is singing intonations—singing, not doing, the intonations—and you hear first this sphere but in that sphere you can hear a sound that goes right up that is not from the choir itself, what is that?

David: Well, to me, that is the consecration of the music when it's divine music, when it's devotional music. When it goes straight up, it's going to where? to God. It's in praise of God, it's devotional music, and it creates an instant portal to the Divine. And does God desire to hear beautiful music? I would if I were God. [laughter]
            And so, God is up there listening [laughter], “Wow! That's beautiful!” This singer has a direct portal to the Divine. Not that God is some guy on a cloud, but when there's pure devotion it creates a beautiful portal to the heaven world, and so of course the voices, the energy of the voices, rises instantly to the divine world. It's food for heaven. Our voices are food for the heaven world. When we sing in harmony with one another in devotion and praise to God, our voices are actually food for heaven and the angels. So I think what that is—it's like God's straw. [laughter] He's sipping the nectar of the love and the light from the voices that we sing with love and cherishment.

Participant #5: Yesterday evening we sang here, and suddenly it was not me singing, it was another voice. Was this the higher voice? [In the background, other participants comment about their experience; some affirm hearing another voice.]

David: Well, good. You experienced it. That's the experience you want to always have.

1. Christmas and Easter in the Initiatic Tradition, by Omraam Mikhaël Aïvanhov, is available for purchase in The Hearts Center online store, item #3200-2-0037, $12.95.
2. “For in the resurrection they [people] neither marry, nor are given in marriage, but are as the angels of God in heaven” (Matthew 22:30).
3. 1 Kings 19:12.
4. Padma Sambhava's October 10, 2009 HeartStream, delivered during the Harvest Conference 2009, can be heard on The Hearts Center's website under the HeartStreams tab.
5. After observing monks chanting “one voice chords,” Dr. Huston Smith, a Tibetan scholar, suggested that this form of chanting functions to elevate awareness from the mundane level to the spiritual level. For more, see

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