I like to listen to ‘tonal’ musicians, particularly the ones who produce eerie sounds through the ringing of metal or crystal objects, and/or by matching their singing voice to the resonating tones.
There are the loud, reverberating GONG folks who with a few strokes can get your head buzzing in short order, the metal tuning-fork musicians/sound-healers whose ringing tones pulse against your eardrums in slowly decreasing intensity, and then there are the hauntingly beautiful, whispering tones delicately teased from expensive crystal bowls exquisitely designed to pierce your consciousness and clear your head of thoughts.
I really like the crystal bowls tones. They feel very ethereal.
That’s the amazing thing about these particular stuck-metal or crystal-produced tones—you don’t just hear them—you can actually FEEL their vibrations in your body and your mind. They can be startling and uncomfortable if the tone is harsh or off-key, or they can be calming and unbelievably soothing depending on the tones involved or the harmonic level achieved.
You can start to resonate with them, like an unplayed violin’s string can suddenly emit a sympathetic vibratory tone when another violin’s string is played near it. It’s called sympathetic resonance.
One tonal musician that I listen to (Facebook) made some statements this morning that I had to agree are semi-plausible explanations on the underlying mechanics of how the collective consciousness is being slowly shifted higher.
He likened the energetic vibratory havoc of what is happening in our current chaotic environment to the radio static we often encountered long-ago when turning the old analog dial between radio stations.
We, as a group consciousness, are currently stuck in that ‘between-stations’ static phase. We are slowly shifting our collective operating frequency out of our ‘normal-operation vibration’ and into a higher one, but we haven’t arrived yet at the new harmonic note to stabilize into the ‘new form’ of what the collective consciousness will become.
Because he’s a crystal bowl ‘sound guy’, he used CYMATICS examples as visuals to help us understand how ‘energy at large’ settles into a material form through the particular frequency that is directly applied to it.
For that ‘CYMATICS simile on energy-shifting’ example, he mentions the example of loose sand on a flat metal surface with an amplified speaker blasting below it that shifts the sand into geometric patterns of ‘form’ depending on the particular ‘frequency’ that is played through the speaker below.
The study of this ‘dancing sand forming geometric patterns per frequency applied’ process is called CYMATICS.
When the sand is first sprinkled onto the flat surface, it sits inert in whatever position it first fell; but once the speaker below starts emitting a particular musical note at a particular hertz level, the sand begins to dance on the metal surface.
The louder that the tone is played, the more the sand starts shifting around until it forms recognizable symmetries that stabilize into geometric patterns per that particular tone’s vibratory frequency.
And like tuning that old analog radio dial between stations, when you start moving from that first true note toward the next true musical note, you get static—the ‘in-between range’ portion of the noise below the sand disrupts the pattern and sends it into dancing-sand chaos until the next true harmonic NOTE is reached, where again a recognizable geometric sand pattern forms on the metal surface—but it forms a slightly DIFFERENT geometric pattern to match the higher note played, because each note’s harmonic vibration has its own basic mechanical structure pattern. (It’s really fascinating to watch this geometric structural transformation as the emitted tones rise up the musical scale. I’m sure YouTube has this recorded somewhere under CYMATICS.)
Cymatics experiments were the first early evidence that sound, and more precisely, each individual note on a musical scale, has a specific structural design per the hertz frequency being emitted.
It is likened to the process of how energy actually solidifies into matter by taking the shape of the frequency pattern being played into it to coax the raw energy material into a specific form—a refined form like humans, for example.
I found his ‘We are shifting higher the collective consciousness frequency like sound-waves forming new structural patterns,’ as an interesting theory to consider on many levels.
And the visual evidence of the ‘underlying geometric structural patterns’ on individual musical notes of the harmonic scale (as shown from the CYMATICS experiments), would imply that we, as highly-condensed, highly-refined, energy units ourselves, are vibratory ‘musical symphonies’ in our own right.