Healing Sounds

My first introduction to hearing vocal harmonics came from listening to recordings  many years ago.  I heard the harmonic sounds and tried to duplicate them.  Later on, I studied with masters of the harmonic voice from many different traditions.  Yet, there are now many individuals who hear and consciously create vocal harmonics quite naturally within their own sounds during sacred sounding.  The question is why?

Harmonics, as we discussed last time, have always been around, for they are simply an aspect of the physics of vibration.  Vocal harmonics have also always occurred–particularly when individuals would sound elongated vowel sounds.  However, the awareness of these sounds is new.  They have always existed, but people have not been able to hear them until now.   Once again, we ask you why?

An answer is that harmonics are very much like the aura of a sound.  It is not a totally correct analogy, but it will do for the moment.  Auras have always existed around the physical body of individuals, yet knowledge of these auras, let alone the ability to see them, was restricted to a very select group of individuals.  Until now.   Now, it is not uncommon for people to begin to develop the ability to see auras on their own, or to learn techniques to develop this ability through reading a book or taking a workshop.  In the same way, awareness and development of the ability to create vocal harmonics is occurring.  It all has to do with the shifts in consciousness and in the vibratory rate of the planet and its occupants.

To begin with, when one develops the ability to hear vocal harmonics, it is though new connections in the brain have occurred and this is exactly what does happens.    As  one develops this ability to become aware of and hear vocal harmonics,  and then consciously learn to create them,  astounding things are experienced.

The sense of hearing is one of the most extraordinary on the planet.  One begins to develop this sense of hearing and to become aware of sound while still in utero.  In fact, the sense of hearing begins somewhere around the third month of the fetus.  Think about this.   All you who have delivered children or are thinking about it, become aware that the little being inside of you is sensitive and picking up the vibrations of  the sound around you, including your own voice.   Be aware of  what you say and how you say it, especially if you are with child.

In our last conversation, we began the discussion of harmonics.  We talked about the actual physics of harmonics–their relationships as geometric multiples of vibrating strings.  We also discussed some of their uses in the esoteric traditions such as the Tibetan “Deep Voice” chanting style.  I would now like to discuss Nouvo-European Vocal Harmonics.

When I first began to study the phenomenon of vocal harmonics, I listened to many different styles of creating these sounds, including the Tibetan “One Deep” Voice and Mongolian “Hoomi”  throat singing style.   After many years of listening  to and then learning these different vocal styles, I realized there was an extraordinary difference, not only in the actual sounds of these Eastern vocal harmonics, but also in their creation and  what I and many other American and European harmonic singers were teaching.  I call the technique that I and other Westerners teach “Nouveau-European Vocal Harmonics”.

In many of the traditional styles of vocal harmonics from the East: the Tibetan “Deep Voice” and  Mongolian “Hoomi”, it takes many years of exceptional training in order to develop the voice.   The Tibetan “Deep Voice” is not one which can simply be picked up–frequently, if one tries to duplicate it the results can be disastrous–everything from strained vocal cords to loss of the voice can result.  With the Mongolian “Hoomi” techniques, the results can be equally bad.  There is a great strain on the vocal apparatus in these traditions.  Astounding harmonics are created as a result of this,  but at what price?

From an inter dimensional viewpoint, It became important to implement a different style of vocal harmonics onto the planet which could be learned easily and used as a tool for frequency shifting.   The reason for this was that the vibrational level of the Earth plane had evolved to the point where it was possible for humans to begin to develop the ability to create vocal harmonics without years of discipline and strain to the 5th seal, or chakra.  The time had come where the creation and use of harmonics as tools for self-transformation and healing could be brought to the mainstream of consciousness as opposed to being restricted to purely esoteric traditions and techniques.  And this has occurred.

One way of creating vocal harmonics through the Nouvo-European technique is simply to gently sing the vowel sounds “oo” to “oh” to “ah” to “eye” to “aye” to “eee”.   (Specific instruction as to how to create vocal harmonics through these and other sounds are found in my book book HEALING SOUNDS from Element Books  and the accompanying “Healing Sound” instructional audio from Spirit Music). These vowels sounds, interestingly enough are also  the vowel sounds that when coupled with specific pitches will indeed resonate the 2nd through 7th chakras.  The vocal harmonics that are created by singing these vowel sounds together are beautiful and ghost like and they sound like an angelic voice that is singing along with an individual.

Jonathan Goldman was recently on the Blog Talk Radio show Visionary Culture.   You can listen to the show right here at the Healing Sounds blog by clicking on the play button above.  We wish the audio quality was better.  The information shared is well worth listening to.

Visionary Culture Show Notes:

How does Sound Healing relate to Consciousness Awakening and Sacred Geometry?  Join Visionary Culture Radio with host Laura Fox with three sound healing superheros to examine the state of the worlds: our inner world of personal growth, and transformation, and our outer world of community, activation and living our highest destiny path. Featuring conscious, world-service oriented musicians, artists, scientists, leading edge social thinkers and social, visionaries,and people making a difference, Visionary Culture Radio is your portalway to activating ‘possibilities’ into manifestation.

Jonathan Goldman leads a group at the Solstice Center in Boulder on February 14, 2009 for an hour of toning the heart chakra sound AHHHH…

How can you participate in World Sound Healing Day 2010?

Dear Friends,

World Sound Healing Day is an event which happens on Sunday, Feb. 14, 2010.  At 12 noon Eastern Standard Time (EST–New York Time), people throughout the planet sound forth for 5 minutes with the “AH”, created and projected with the energy of compassion and love, sending a sonic valentine to Gaia, our Mother Earth. At that time, please go to templeofsacredsound.org to enhance the vibratory effect as we sound together for planetary peace and harmony. Please visit this link: healingsounds.com for more information.   Thanks so much for your support of this important event.  Through our Light, our Love & our Sound, we can really make a different. Please pass this event on to anyone you think would be able to participate.

Blessings of Love & Light through Sound,
Jonathan Goldman

Please share this information with all your friends.  Join our World Sound Healing Day Facebook event and share your plans for participation or visit Healing Sounds for more information.

Also for an in depth look coherence and the significance of World Sound Healing Day read: World Sound Healing Day & The Coherence Factor

If you will be in Boulder, CO on Feb. 14th we are holding a special event:

Come celebrate “The Sound Heard Around the World”– Join Andi & Jonathan Goldman and Friends from 5:00 – 6:00 PM , Feb. 14, 2010 at  Solstice, 302 Pearl St., Boulder.  Send a sonic valentine to Mother Earth as we sound together for planetary peace & healing.

Thanks to Jonathan Machen of Haiku Times for creating this video!

Join thousands throughout the planet for the 8th Annual World Sound Healing Day on Sunday, February 14, 2010.  At 12 noon Eastern Standard Time (EST—New York Time), sound forth for 5 minutes with the “AH” created and projected with the energy of compassion and love—sent as a sonic valentine to Gaia, our Mother Earth.  At that time, please go to www.templeofsacredsound.org to enhance the vibratory effect as we sound together for planetary peace and harmony.  Please visitwww.healingsounds.com for more information.

Sound coupled with consciousness creates an extraordinarily powerful vehicle for change. This topic has been covered in numerous writings including many articles on the www.healingsounds.com website. For this article, I’m going to focus on a topic that has received relatively little attention with regard to sound and consciousness—that of the subject of coherence.

Few people question why it is the “AH” sound that is suggested to be utilized on this day—especially after information is provided about the “AH” being the sound of the heart as well as being a universal sound of love and compassion. The “AH” is a sound that everyone can relate to as a sound to create together.

However, the specifics of the time being 12 noon EST seems to be more questionable. In truth, as we note in our detailed announcement, on one level it really doesn’t matter what time during Feb. 14th that sound is made. Any sacred sound created any time during that day is a good sound because any sacred sound that is ever created is always a good sound.  In addition, certain traditions consider that space and time are just be illusions of our consciousness, and time and space do not matter.

This perspective is acknowledged. Nevertheless, it seems that when creating an energy such as the  global wave of intentionalized sound we produce on World Sound Healing Day, having this sound occur at the same time throughout the planet may be a key to the optimal effect that results. Why is this?

This may be because of the vibratory phenomenon known as coherence. Scientifically, when two waves are in coherence, they are described as each having the same frequency as the other and both being in phase. The sound energy they create is multiplied. Coherence strengthens the power of the waves that are created.

Coherence occurs through nature and in particular, is most important in terms of its effect on our brain and body. In particular, if we examine the relationship of the brain and the heart, we find that when the heart and the brain are in coherence together (what sound people might call being in “resonance” together), both are locked into the same rhythms and oscillating at the same frequency. When this occurs, the electro-magnetic field created by the heart can be 5,000 times great than that of the brain and the synergistic field that is creating is extraordinary. When they’re out of sync, this does not occur and this field does not manifest to such a powerful degree.

Manifesting a coherent waveform of sound through creating the same sound at the same time—such as the AH sound at noon EST for World Sound Healing Day—really helps makes this waveform of intentionalized sound an extraordinary force of positive energy. The optimal power of this sonic wave is, no doubt, due in part to the phenomenon of coherence. When people gather together with agreement a sound to make and a time to make it, it really is more effective than when the sound is less coherent.  When different sounds at different times are made, the energy created becomes much more diffuse than the coherent waveform.

The website: www.templeofsacredsound.org was created as a Sacred Sound Temple in cyberspace which people throughout the planet can utilize in order to assist focusing their intentionalized sound. It’s been especially effect for events such as World Sound Healing Day.

There are instructions on www.templeofsacredsound.org to assist the person making the sound in achieving a personal state of coherence between their heart and their brain. This is a relatively simple process involving breath and visualization. It’s something anyone can do. This process of creating coherence within ourselves seems to strengthen the field we create, as well as the energy and the effect of the sound we’re making.

It may not possible to gather everyone throughout the planet to sound together at the same time. And. as noted, any sacred sound created at any time during that day is a good sound.  Nevertheless, the manifestation of www.templeofsacredsound.org has made it much easier for people to gather and sound together at the same time, assisting the process of Global Harmonization: creating harmony and peace on the Earth.  Thus, we ask that for optimum effect, in order to create the most focused and coherent waveform for planetary healing, that you please join us at 12 noon Eastern Standard Time at: www.templeofsacredsound.org.

The Tibetan Voice is now manifesting more and more in the West as a means of creating resonance that effect both the Celestial and the Gaia energies.   A number of Westerners, including myself, have now developed the Tibetan Deep Voice and are sharing it with others here in the West.  Women, as well as men, have been able to receive this sound through being in the sounds field.   I initially received the Tibetan Voice from the Gyume Monks by being  in their field.  This occurred after I recorded the Monks for the first time in the West during their historic visit in 1986.  I went home to listen to the recording of the Monks in my crystal grid and  fell asleep.  The next morning I awoke with the ability to create their sound.  It is an example of what I call “Harmonic Transmission”–in which the sacred knowledge and techniques of masters are transferred simply by their presence.

The Tibetan Voice, while extraordinary, is not something which can merely be taught through technique.  Many different past and present lifetime resonance are required for it to be received.  It is not for everyone.    However, here in the West, is the emergence of a new type of vocal harmonics, which nearly everyone can learn to create.  The effects of these harmonics is quite remarkable.  Within the last decade more and more people are experiencing the power and transformational abilities of these sounds.  We will discuss these “Nuevo European Vocal Harmonics” in a future post.

I hope I have not confused you too much yet–this is a very complicated subject and yet one which is extremely important to begin to understand.  It is also one of the reasons why I have difficulty with certain people who claim to work with the fundamental tone of a person’s voice.  Since the harmonics really create the uniqueness of the individuals voice, I believe they are as important (if not more important) than the fundamental tone and should be examined as well.

I have shared with you in the past about the importance of intentionality in the sound making process.  For the most part, the Mongolians and Tuvans were not aware of the sacred power of their vocal harmonics.   Or if they were, they were not discussing this with anyone.  Once again, it was purely a folk music.

The monks are actually singing an undertone–a sound that is 1/2 the frequency of the fundamental.  While this is said to be scientifically impossible, it is a reality.

The use of vocal harmonics as a sacred and transformation tool all but vanished here in the West.  In some of the Mystery Schools that survived, there has been continued knowledge of the power of vowel sounds.  These vowel sounds have been understood to convey great energy and some realize that many of your Divine Names may be encoded as vowel sounds.  We will add one more key to this puzzle.  Inherent in each of the vowel sounds are particular harmonics.  So that if an individual were able to properly intone the vowel sound name of a deity so that the specific harmonic resonated, what you would have would be a melody.  In other words, when correctly intoned, these Divine Names as vowels would actually be sonic formulas that would resonate to the frequency of a particular deity.

All of this, has, for the most part, been forgotten in the Western traditions.  The use of vocal harmonics maintained itself in secret in certain Tibetan Monasteries, where the Tantric Colleges would stress specific harmonics in their chanting that was resonant with the particular deity they were working with.  In Mongolia and Tuva, overtone singing is known as “Hoomi” and became a powerful technique where the singers could easily create two or more notes at the same time.  The Tuvans and Mongolians were able to sing specific melodies with harmonics in this manner.  However, the sacred and shamanic knowledge of the uses of overtones became lost to these people (it was perhaps wiped from their memory during the time of Genghis Khan).  “Hoomi” became a folk art rather than a sacred art.  The esoteric uses of vocal harmonics disappeared and only the exoteric, or external folk music remained.

The Tibetans on the other hand seemed to be quite aware of the power of their sound as a sacred tool for manifesting energy.  When the Chinese invaded Tibet, (an abominable massacre of high consciousness), those Tibetan Buddhists who managed to escape began to make public some of the more arcane and hidden of their practices such as their “Deep Voice” chanting.    The Tibetans, incidentally, work with vocal harmonics in a very unusual way.  As we have said, there is an inter-relationship between the vowel sounds and harmonics.  One can simply begin to chant the vowel sounds in a specific way (this is related in detail in my book HEALING SOUNDS) and certain harmonics will evolve.

The Tibetan voice is very different.  It is an extremely deep, guttural sound that is as low as is humanly possibly.  For those of you who know the Australian Aboriginal Didjeridu, the Tibetan Deep Voice sounds much like that.  Now, this sound of the Tibetans creates a chord–that very deep undertone, plus very distinct harmonics, so that it often sounds like a children’s choir singing along with these impossibly deep bass voices.  This chord created by Tibetan chanting is monumental.  It invokes dieties.   And it can create Merkabhas.    As a friend of ours, Sean (as channeled through Kaimora) remarked, “It is a voice that can summon the ships”.   The  Tibetan Deep Voice can create  inter-dimensional fields through which beings can travel.  The Tibetan sound is a very “off world” sound, from an ancient celestial source.  It was given to a high Tibetan lama many centuries ago in dreamtime.   Along with its extraterrestial and multi-dimensional focus,   the  Tibetan Deep Voice is  also an aspect of the creational tone–the embodiment of the low frequency sounds that manifested the physical plane.   The Didjeridu creates a similar sound.  So do certain whale sounds.  It is one of the most powerful tones for resonating with the energies of Gaia.

With harmonics of the voice, we are usually talking about overtones that are anywhere from twice the frequency of the fundamental, up to 15 times the fundamental.  While it is possible that harmonics can conceptually represent sound turning into light (because when a sonic frequency is multiplied by 40 octaves it turns into the electromagnetic spectrum which we call light), the harmonics produced by the human voice are well within the audible spectrum.  Yet, they have profound effects.

The use of vocal harmonics date back to before your recorded history.  They were utilized in Atlantis and Lemuria, and then later on in Ancient Egypt and your other Mystery Schools.  They were utilized by the priests and shaman of these traditions for any number of different purposes:  to resonate the physical body, the etheric fields and the brain.  They were used for healing, for consciousness expansion, for divine and extraterrestials communication, for the creation of inter-dimensional fields and many other activities. At the ancient healing temples in Atlantis they worked with crystals and harmonics in a specific geometric form as a group with an individual lying in the center.  Limbs and organs could be regenerated in this manner.  It was truly wondrous.

I am most interested in using vocal harmonics to activate certain portions of the brain.  I believe that the brain is basically a transmitter and receiver of information.  It is much like a radio that can be tuned to different frequencies and access multi-dimensional energies.  I have found that by creating specific harmonics and then directing them to particular portions of the brain such as the pineal gland, that it is possible to activate these portions of the brain and actually cause a frequency shift which re-tunes the brain.  It is very exciting.

This, of course, is just one of the areas in which harmonics may be used.  The creation of inter-dimensional fields using specific intervals and harmonics is another that will be receiving some rather dramatic attention in the near future.  Those of you who are familiar with the term “Merkabah” may realize that this vehicle of light is really just an inter-dimensional field generator and may be created by using specific harmonics with color and geometry.

Thus far, we have discussed various aspects of sound, including concepts such as “frequency”, “intent”, “vibrational resonance”, “visualization”, “vocalization” and other aspects of using sound to shift frequency.   Last issue, we mentioned the idea of a “harmonic language”.  It is time now to begin to deal with the subject of harmonics, or overtones, as they are also known.

You have heard the term “harmonics” used in many different areas–from the Harmonic Convergence to many sacred science writings.  I particularly like the reference to shifting the harmonic resonance of the Enterprises’s shield on “Star Trek: Next Generation”.  Yet how many of you really known what “harmonics” are?

Very simply put, harmonics are geometric multiples created by the singular vibrations of an object.  For example, if you set a string into motion–let us say that it resonates at a frequency of 440 hertz, that is, it vibrates up and down 440 times a second–this is known as it’s fundamental frequency.

Now, this fundamental frequency is what people pay most of their attention to.  If you were to hit this note of 440 hertz on a piano (or any instrument for the matter), you could call this note an “A”, and you would put most of your awareness on hearing this “A” note as it vibrated.

But in reality, this string that  produces a fundamental vibration of 440 hertz, is also producing many other tones, or overtones.  These harmonics are actually the result of other vibrations within the string created by that fundamental note–vibration that are quantum in nature and are geometric multiples of the fundamental note.

That “A” note of 440 hertz produces the first overtone by vibrating at a frequency that is twice as fast as the fundamental–at 880 hertz.  And this is what you call an octave.  The second overtones vibrates 3 times as fast as the fundamental, at 1,320 hertz.  And the next overtones vibrates 4 times as fast.  The next overtone vibrates 5 times as fast and so on.  Until–at least conceptually–infinity.   So you see that while what you may be perceiving as merely that “A” note vibrating at 440 hertz is actually a complex composite of that fundamental note and overtones, all vibrating together.

In reality, almost every sound that you hear (unless it is created by some electronic laboratory instrument) produces these complex tones–these harmonics.  They are, infact, responsible for creating the different sounds that we hear.  Harmonics contribute to what is called the “timbre” or tone color of an instrument.  When, in an electronics laboratory, the harmonics were removed from recordings of three different instruments, listeners could not tell them apart, yet in real life, it is easy to distinguish between a violin, a trumpet and a flute.  This is also true about the human voice–every voice is different, because every voice has a different harmonics pattern.  While harmonics always sound as geometric multiples of a fundamental tone, different harmonics will be more amplified in different instruments and in different people.

On a metaphoric level (still working within the guidelines of the physics of sound), when one talks about a harmonic of something, that person is talking about a higher frequency that is a geometric multiple.  A geometric multiple is simply a whole number (as opposed to a fraction), which therefore means that harmonics are quantum.    So, a harmonic of say 100  cycles per second (or hertz) can simply be that 100 hertz multiplied by any number (from 1 to infinity).   It could be 200 or 500 or 5,000.

Even if one has developed to a high degree, the ability of telepathy, sound is still utilized.  Because it is a powerful energy that is much more than pure thought.  It is a physical frequency–a third dimensional energy.     Remember,  in your development with sound, that the carrier of the consciousness, of the thoughts you send, will still be sound.  It is an easier and more efficient means of communication–at least here on the third dimension.

Someday, in the not too distant future, we will learn to communicate with others through a harmonic language.  It will be a language of tone and melody, without words.  This once was.  Then as the bible literally illustrates, languages developed and all forms of havoc were created.  Global communication ceased.   Language became used for communication and music became music.  The musical language that once was disappeared.

Do you recall the movie “Close Encounters of the Third Kind”?  Do you recall how the extraterrestials communicated in that movie?  They did it through a tonal language.  As the entity Shadonai (channeled through Karen Anderson) once shared with me, these beings were searching the universe for another species with which they could communicate.  They were looking for another world which had developed its own melodic language  When they played their melody to us, we were wise enough to mimic what they said using sophisticated computers and the like.  But we did not have our own tonal language with which to truly communicate.  This gave those in the Mothership the awareness of our level of development.  And ultimately, they left, searching again for a species that could communicate on their level.  What was this level?  A tonal language.

This tonal language existed eons ago, and it will exist again.   It will utilize the energy of harmonics and it’s users will work with the understanding of Vocalization + Visualization = Manifestation.  The cutting edge of humankind is already beginning to realize the possibilities inherent in this and to experiment with this.  Why not?  The dolphins and other beings are assisting us on many levels in order to achieve this.  It is a much purer form of communication than we have and when it is done successfully, it must come from both the heart and the mind.  Not just the heart.  Not just the mind.  But a balance between the two.  And such radiant energy it is.

In the meanwhile, remember the importance of intention and visualization in whatever sounds you create.  And remember, to always sound with the energy of love.  This is something that the dolphins always do.  You would do well to follow their example.