THE WORD
"In the beginning was God with power through speech. God said, ‘May I be many... may I be propagated.’ And by his will expressed through subtle speech, he united himself with that speech and... Praja pathi and Saraswati were then created. And Prajapathi is called the progenitor of all beings." Sata patha Brahmana
The gospel of John and other scriptures present more or less the same truth. John writes, "The same (the Word) was in the beginning with God. All things were made by him; and without him was not any thing made that was made. In him was life; and the life was the light of men." John 1:2-4
What exactly is the Word? Physics is discovering that light, sound, matter, etc. are all vibrations of more or less density. Vibration requires movement. In Genesis, we read that at the moment of creation "the Spirit of God moved upon the face of the waters." The Word is the original vibration or sine wave from which sprang all other vibrations. According to the Vedas, this Word is "Aum." Let’s examine this mantrawritten out in longhand.
AUM
The circle in "A" symbolizes the self-contained, unmanifest, absolute Godhead and the tail represents an emanation at the moment of creation. In the preface to "The Science of the Spoken Word," the Messenger, Elizabeth Clare Prophet writes, "The A comes forth from Alpha (our Father)-- as the initiator, the creator, The Beginning-- the origin of spirals of consciousness, of being."(51)
The next letter, U, shows the full sine wave of the Word as God or Elohim begins to move or vibrate. This is the Son, Narayana, who sings the song of creation. The French word, "son," means sound. The person of the Son, and the "son" or vibration, are one and the same.
And the "M" means manifold creation, the many folds or waves (the "mmmmmm..."), of the resulting creation as the Word multiplies and becomes denser. R. J. Stewart in "The Spiritual Dimension of Music," writes that "the bridging tone of M flows either way. For us it acts as resonance that attunes our consciousness to inner reality, while for the source of creation, it acts as a medium whereby energy flows out to generate the outer and ultimately the material worlds."(52) M also means Mother as in the Divine Mother, Saraswati, shakti or power of Brahma, or the Mother of the world of "mater realization."
The Word is the cosmic hum. David Tame in "The Secret Power of Music," reminds us that it is the sound of "the ongoing process of creation and preservation of all atoms and all worlds... To the yogi, the OM is as immediate as the air around him, sounding out in the eternal present. It beats the rhythm of all hearts, and speaks to the soul having ears to hear. The great mystics of all time have felt the Word to be imminent in and around themselves; have known that it was the elixir of light."(53)
You don’t have to be a yogi or mystic to hear the light of God. In a moment of inner and outer quiet, such as in deep meditation or right before falling asleep, listen for a faint, high-pitch hum. John Beaulieu in "Music and Sound in the Healing Arts," describes his experiences listening to the cosmic hum. "The pitch of the sound would change, depending on the events of the day and my internal state... One day, after having an argument with a subway attendant I noticed that the sound became much higher, louder, and that it wavered radically. Over a period of several months I began to associate physical, mental and emotional states with the sounds of my nervous system."(54)
Beaulieu states that the sounds we can hear in silence are our bodies resonating with the cosmic hum. When we are in tune with it, we resonate with it like the strings of resting violins resonate when one is played. We can tell when we are out of tune by listening carefully. We get back in tune through the power of the Word (i.e., prayers, mantras, decrees and song.)
THE MANDALA OF SOUND
The Great Divine Director instructed us to visualize his mandala over the throat chakra, where thought and intention are expressed into physicality. When I meditated on the mandala, my thoughts led me to the stump presentation on the Science of the Spoken Word that includes slides of Hans Jenny’s sound forms or cymatic pictures. A cymatic picture is a pattern created when various media such as fine sand or clay are placed on a steel plate and vibrated with a crystal sound oscillator. Jenny found that different sounds create different patterns, many of which look like yantras or mandalas. Figure 1 is an example of a cymatic picture that looks remarkably like the Great Divine Director’s mandala as seen on the home page. The thought occurred to me that this mandala is not just a symbol of the new earth grid but a sound form of the higher vibration that will create the new earth grid.
Hans Jenny discovered that when Sanskrit vowels were pronounced, the sand took the shape of the written symbols for these vowels. Stan Tenen reproduced these results with Hebrew vowel sounds. Did these two ancient languages
spring from a more ancient language?
A friend of mine who was at LaTourelle told me that the Messenger, Mark Prophet used to teach that the ancient Lemurian language of Sansar was the root of Sanskrit and that the priests of Lemuria were able to manifest objects by reciting their names in a certain way. Can Sanskrit and Hebrew, like Sansar, influence and transform physical reality, create or destroy, or heal a person who is out of tune?
David Tame writes, "in Egyptian cosmogenesis the first god, Khepera, or Ra, emerged into being by pronouncing his own name. Thereafter he began to create other forms and other gods by the combined process of visualizing them and uttering their names. The gods which had then been created by him were also able to create through a similar process, engaging in what might be called a ‘stepping down of the frequency’ of the One Vibration... The lesser gods were accredited with the knowledge and the use of words of power which they could use to create and destroy form, heal the diseased and give life to the dead.... In precisely the same way that the gods created by combining visualization with speech, so too did the priests believed it was possible for man to work change within the physical world."(55)
In the last issue, I deciphered the word "Angoulmois" in Nostradamus’ X.72 quatrain as an anagram for "Logos Manu." However, instead of using the common definition of "the Word" for Logos, I used the other definition of "ether" and interpreted it to mean the etheric realm of the Manu of the seventh root race. In retrospect, I think that "the Word" is the correct translation, meaning the sacred sound or word of power from which will be created this etheric realm.
Sir John Woodroffe in "Principles of Tantra," wrote, "Like the Greek word Logos, mantra means thought and word combined as an expression of creative will."(56) Hans Jenny, when he uttered the mantra, "Aum" into his tonoscope, found that the medium created the concentric circles, squares and triangles of the sri yantra associated with that mantra. The Great Divine Director’s mandala also has concentric circles, squares and triangles. If the Great Divine Director’s mandala is the sound form or visualization that will create the new earth grid, what is the mantra that corresponds with it? I can’t answer that question, but I have found more general information about mantras or words of power.
R.J. Stewart wrote, "Closely connected to the throat centre and the energized utterance of tones, is the ancient concept of the ‘word of power’... In Eastern monastic practice, as in Western, sacred words are uttered musically, upon drawn out and regulated tones... The vocal utterance is quite a unique ability that relies upon activation of the throat centre. This extension of the vocal tone is equivalent to the extension of energy in the creation of the universe, but expressed through the limited form of the human consciousness in the human world."(57)
Swami Maheshwarananda taught that "vibration forms the basis of the ancient language of Sanskrit. One cannot simply ‘speak’ Sanskrit but must combine the sounds with a particular tone or vibration and observe the pronunciation precisely. The words and word combinations have to have a particular sound.(58)"
THE TONES OF ATONEMENT
Soon after reading an article about people gathering in churches and temples to ring bells and pray for atonement (see "For Whom the Bell Tolls), I heard an interview with Dr. Leonard Horowitz who wrote
"Healing Codes for the Biological Apocalypse." He and his co-author, Dr. Joseph E. Barber, found coded passages in the Book of Numbers and other books of the Bible that refer to the musical scale and certain key frequencies that they think can be used for creation, destruction, healing and working miracles. They discovered these code numbers in verses that refer to feast days, sacrifices, and atonement.
Horowitz claims that atonement meant "a tone" in addition to meaning "at one."(59) That makes sense because when you’re at one with God, you are attuned to his will or vibrating at his tone. One verse in particular, Lev 25:9 connects atonement with the sound of a musical instrument: "Then shalt thou cause the trumpet of the jubile to sound on the tenth day of the seventh month, in the day of atonement shall ye make the trumpet sound throughout all your land." The numbers 10 and 7 add up to 17 which can be reduced to 8, the number of musical octaves. The word day is italicized, indicating that it is a code word. Converting the letters d-a-y to their corresponding numbers, using the Pythagorean skein, you would get 417. According to Horowitz, the number 417 and five others: 396, 528, 639, 741, and 852 are found throughout the Bible in coded verses.(60)
Horowitz said that each tone has a certain effect. The 396 tone was the tone of creation. The 528 tone was for working miracles as in healing. It is the same frequency used by geneticists to repair damaged DNA. The 417 tone may be used for destruction as when Joshua made the priests blow trumpets for six days to crumble the walls of Jericho(61). I connected these qualities of the tones with the three Hindu deities of the Trimurtu: Brahma, the creator; Vishnu, the preserver; and Shiva, the destroyer. Each of these dieties has a complementary shakti or power, without which creation would only be an idea in the mind of God. Likewise, each tone has a complementary tone: 639 with 852, correspond to Brahma and Saraswati, 396 with 528,correspond to Vishnu and Lakshmi, and 417 with 741, correspond to Shiva and Kali.
In the Hindu Pantheon there are seven lesser dieties under the Trimurti. Five of them: Indra, Vayu, Agni, Varuna, and Kshiti are active and two are concealed. Since these are lesser dieties that act as step-down transformers of the vibrations coming from the Trimurti, they should be at the next octave down. David Tame points out that the five active and two hidden gods are like the five major whole tones: C, D, F, G, and A; and two semitones: E and B of the diatonic scale. He writes, "Many of the world’s religions agree with the idea that there are seven ‘first Gods’ which are the living embodiment of the first differentiation of the One Tone into seven. The Hebrews call these Gods the Elohim..., the Gods of the seven Tones."(62) Kshiti would be C two octaves down from Lakshmi; Varuna, the next note, D; Agni, F; Vayu, G one octave down from Vishnu; and Indra, the next note, A. I decided to try to devise a divine scale that would include all the frequencies for the Trimurti and lesser devas.
THE GREAT TETRAKTYS
While researching the musical scale in a book on mathematical patterns, I came across two patterns of numbers that relate directly to the six Bible code frequencies: the magic square and the tetraktys. The tetraktys or decad is a triangular number that looks like this:
.Pythagoras taught that the tetraktys shows the major consonant intervals in music. They are the numerical ratios involving adjacent rows of the tetraktys (octave 2:1, fifth 3:2, and fourth 4:3). Note that the code numbers 528 and 396 are in the ratio 4:3 and the ratio of 396 to 264, middle C one octave below 528, is 3:2. Also 639, 852 and 426 have these same ratios. Music therapists Kay Gardner states that musical intervals with ratios that have small whole numbers like 2:1, 3:2 and 4:3, are best for healing since they produce the greatest consonance.(63) Perhaps they’re also keys to creation. Pythagoras implied this when he wrote, "Bless us, divine number, thou who generate gods and men! O holy, holy Tetraktys, thou that containest the root and source of the eternally flowing creation!"(64)
Another important ratio is the one between 639 and 396, and 852 and 528. That is, between Brahma the originator and Vishnu the perpetuator of spirals of creation. It is 1.61363636, which is what you would get if you averaged the golden ratios of Fibionaci number (1.5, 1.67, 1.625, and so on).
Each number of the tetraktys represents a stage of creation. The 1 is the one Word of the one Being that was in the beginning. In music, this is the fundamental tone from which all other tones are created. In Chinese symbology, it is the wu ch’i.
The 2 is the first division of the one Word or tone into polarity. In the story of creation, the Word creates polarities: light and darkness, heaven and earth, land and water, male and female, etc. Polarities make possible all life. These are not opposites but the complements of yin and yang. In music, according to "Pistis Sophia," the yang interval is the fifth while the fourth is the yin interval. Out of their mystical union, arises the Pleroma, which is the octave.(65) The polarity of yin and yang is symbolized by the tai ch’i.
The next number, 3, also symbolized by the tai ch’i, represents the spirit of harmony which condenses to produce all things. Kay Gardner writes that "The Greek root, harmos refers to the process of joining together objects, people, concepts, etc. previously having a separate existence. Universal harmony is Nature’s laws determining the interdependent relationships of all living things, as well as the cycling of the seasons, the movement of the tides, of birth and death, the cycles of the sun, moon, stars, and planets in the cosmos."(66) When harmony is established, then you can have the various combinations of the four elements of fire, air, water and earth. Then all things, ani-
mate and inanimate, are created. This is the 4 of the tetraktys and is symbolized by the squaring of the circle. This is taken from Figure 14 of "The Spiritual Dimen-
sion of Music" by R. J. Stewart.(67)
Much more can be said about the tetraktys. Cabalists used it as a symbol of God by placing the four letters of his name, meaning I AM THAT I AM, in place of the numbers. The gematric sum of this tetraktys is 72, a fundamental gematrian number. Some believe that gematrian numbers are creation frequencies used by God. In a future issue, I will devote an entire article on Gematria.
THE MAGIC SQUARE
The other pattern that relates to the Bible code frequencies is the magic square. A magic square is a grid of nine numbers from 1 to 9 that are arranged in such a way that three rows, three columns and two diagonals of three digits all add up to the same sum. Magic squares get their name from the belief that they possess magical powers. People in various cultures wear them around their necks as talis-
mans. In Figure 3, the code number 852 is in one of the diagonals and parts of two others are in other diagonals.
4 9 2
3 5 7
8 1 6
Figure 3: The Magic Square
I decided to make a grid of four magic squares and, lo and behold, all six code numbers appeared in the diagonals going from bottom left to upper right.
The magic square in Figure 3 has a counterpart called the heavenly magic square which is formed by subtracting each number in the earthly magic square from 11. The result is shown in Fig. 4
7 2 9
8 6 4
3
10 5Figure 4: The Heavenly Magic Square
I noticed after expanding this to four magic squares that all six code numbers were present in this magic square as well, but going in the opposite direction from upper right to lower left.
The magic square forms the basis of Feng Shui and Nine Ki astrology which put great importance on placement and direction. Each direction has a different quality or frequency of ki or ch’i, the intelligent life force, associated with it. The southwest-northeast axis that the code numbers fall on is associated with creative earth energies of the old mother ch’i and the youngest son ch’i.
Also present in the heavenly magic square were the numbers 279, 297, 330 and most of the other numbers needed to make a just musical scale with 264 as C, 528 as C’ and 396 as G. However, you have to treat the number 10 as a flexible number. In some cases, the digit 1 is used to get a scale number as in 417. In other cases, 0 is needed as in 704. In the case of 660, the 10 is multiplied by the 6 to get 60 and the third digit, 2, is ignored. 924 is the only number in the scale that is found only in the earthly magic square. The code numbers are the only scale numbers that can be found in both the heavenly and earthly magic square. Could they be links between heaven and earth?
I tried to fit all six code numbers into two octaves of this magic square scale but found it impossible. The 417, 639, 741, and 852 frequencies were either too flat or too sharp, creating dissonance. Then the thought occurred to me that each pair of frequencies should have its own scale. One scale would contain 396 and 528 for Vishnu and Lakshmi. Another scale with a C of 511.2 would contain 639 and 852 And a third scale with C at 278 and C’ at 556 would contain 417 and 741. It is interesting to note that the interval of a fourth from 556 to 741 is flat, creating dissonance, as would be expected for a tone that destroys matter.
Rather than showing all the frequencies in the three scales, Table 1 shows just the code frequencies, the C notes and important octaves of these frequencies. These tones represent the Trimurti and their shaktis, the five active devas, and the two nameless devas. The other tones correspond to unmanifest or manifest creation.
* Listen ** Sanskrit name of object
Also shown in Table 1 are the elements, chakras, and bija mantras associated with each diety. Sir John Woodroffe wrote that "bijas are the archetypal seeds, the actual mechanisms of the One Mind that underlie manifestation...seeds, out of which grow the fruit of the universe..."(68) Bija mantras are more powerful than other mantras.
The E flat note at 639 Hz is close to the frequency of the kung note in the Chinese system of music. According to David Tame, "this foundation note was considered to be the earthly manifestation of divine will, and a sacred, eternal principle, upon which was based the proportional system (the weight, size and tone of all things) of the entire state."(69) If the kung was wrong, civilization would decline. Unfortunately, the ruler of each dynasty changed the value for the kung because they reasoned that if the previous dynasty had been right, it wouldn’t have ended. The last Chinese dynasty put the kung at 601.5 Hz, a D. They were wrong.
The central role of the E flat note was pointed out by Barbara Hero in her collection of musings and sketches on the mystical aspects of music, Eyes + Ears = Ideas. She found that it was at the beginning, end, or other key locations in 18 different musical, mathematical or metaphysical patterns. She wrote, "It’s the place at which we find the beginning of life, and the fastest musical pulse of the thirty second note... It becomes the boundary of the end of the time where space begins... it is at the limit of the macrocosmos."(70)
To fully explain the significance of what Barbara Hero wrote above is beyond the scope of this newsletter. If you are intrigued, I would recommend that you get the book. It is available to read on-line at , but unfortunately the illustrations are illegible. Suffice it to say that the E flat note at 639 Hz corresponds to the kung note and to "Aum," the cosmic tone of Brahma, the creator. I am not saying that 639 Hz is the actual frequency of the tone of creation. It is the octave of that tone which the human voice can recite comfortably.
AN EXERCISE IN SOUND ALCHEMY
When I arrived at the divine scale in Table 1, I wondered how the tones and mantras could be played to create, destroy and heal. The great adepts and alchemists of all ages knew the secret. One of them, in Volume 3 of "Life and Teachings of the Masters of the Far East," was reported to have said that, " The vast sea of God’s creative, unlimited, moving space... is completely full of vibrating, emanating energy... in which all substance or elements are in soluble form or suspended in harmonious relation, ready to respond to the call of the vibratory rate that will allow them to coalesce into form. When the proper vibratory influence is set up through the thoughts of the human unit, cooperating with the whole, the elements, having no other course, rush in and fill the mould set by the desire. This is absolute law and none can stay its true course."(71)
In this teaching, we see that the law of creation has several requirements: vibration, thought or visualization, the elements, desire, and the call. In my research, I found other requirements. One is an instrument that has consciousness, that is a part of God. The only instrument that meets these qualifications is the human voice or throat chakra. David Tame wrote that "the voice of man is particularly intimately associated with the OM, the voice of God. Human speech is a lesser, stepped-down aspect of the OM itself, since man is a Son of, and a part of, God Himself. Therefore, through the use of his vocal cords in speech or in singing, man is thought to be a co-creator with God."(72)
I have pieced together a seven-step process for creation, destruction and healing from researching the teachings of the Ascended Masters, the Bible, and other books. These steps, in brief, are: purification, desire, invoking light, visualization, vocalization, repetition, and protection. I don’t claim that this process is complete or correct; it is what I have been able to surmise from various sources at the time of publication. I am open to constructive criticism and additional information. For example, the frequencies of creation and destruction may have been intended for musical instruments like the trumpet and other wind instruments through which prana or the life force can flow, and not the human voice. It may be that mantras can be said at any pitch and still be effective.
I would like to propose an alchemical exercise in the use of sound, love, and vision to create, destroy, and heal: Create or precipitate rain for the drought-stricken Sahel region of Africa. (This region includes Ethiopia, Sudan, Chad, Kenya, Somalia, Uganda, Niger, Nigeria, Mali, Mauritania, Burkina Faso, and Senegal). Destroy the meteor mentioned in the article "Three Monsters." And heal someone you love of a minor disease. Ravi Shankar, in speaking about the great saint musicians and singers of India, said that some could, by their singing, heal, bring rain and melt stones.(73)
CREATION
1. Purification. The lower chakras must be purified and stilled so they won’t interfere with the proper functioning of the higher chakras. Only a purified heart can keep a pure desire and the highest vibrating emotion of love. The throat chakra must be pure enough to sound the mantras at the correct pitches. A purified third eye chakra is needed to activate the will and visualize the object. And the intellect must be free of the illusion of duality and know that I AM God and the universe resides within. The best way to do this is through the violet flame. In "Intermediate Studies in Alchemy," St. Germain states that, "Our first step, then, is to abort and transmute the negatively qualified substance in the world of every would-be alchemist. The power of the violet transmuting flame, as an agent of the Holy Spirit, can be called forth from God for the purification of man’s world."(74)
A simple and effective violet flame decree for purifying the chakras is number 20 in the booklet, "Mantras of the Ascended Masters for the Initiation of the Chakras."(75) In case you don’t have this, just recite "My ____ chakra is a chakra of violet fire, my ____ is the purity God desires!" for each chakra, starting with the heart and going to the throat, solar plexus, third eye, soul, crown, and base. You should also recite the mantras associated with each chakra 108 times, beginning at the base of the spine and working your way up, pausing for a moment between chakras. When you reach the crown chakra, instead of using the voice part of the throat chakra to recite a mantra, use the ears, another part of the throat chakra, to listen to the All Sound resonating in your nervous system. The All Sound is to the sound spectrum as white is to the color spectrum. If you can’t be in a totally quiet place, put earplugs in your ears. This process not only purifies your chakras and attunes them, like the frequency receivers and energy processors that they are, with your Holy Christ Self and Mighty I AM Presence, it also charges them with the elements necessary for the creation process. After chanting "Ram" 108 times, you may feel the heat of the fire element in your solar plexus.
2. Desire. The next step is to feel a strong desire to create from the depths of your heart. But the desire must be founded on positive, not negative, emotion. If we fear that people will continue to suffer and die if our alchemy doesn't work, it won't. In order to create rain for Africa, we need to feel it with the joy of a child playing in the cool summer rain. Feel the mud oozing between your toes. Smell the cleaned, cool air. See the lush crops growing tall and healthy as in figure 5. The feeling you want to evoke is one of fearless compassion. Only fearless compassion is pure enough and strong enough an emotion to work this alchemy. Your desire has to be totally selfless or the petty human ego will interfere with your attunement with our Holy Christ Self and Mighty AM Presence. Jesus never performed a miracle out of a self-centered desire, even when his life depended on it during the temptation in the desert. Similarly, in the destruction process, any negative emotion of hatred or fear of the object will create duality and prevent its destruction.
Figure 5 - Sugar Cane Field in Africa/a>
3. Invoke Light. The third step is to invoke the Light through a fiat such as "In the name of Brahma, Vishnu and Shiva, let there be Light where I AM THAT I AM!"
4. Visualization. The fourth step is to formulate a thought or image of the rain or water vapor to be created, using your clarified third eye vision. St. Germain, in "Creative Abundance: Keys to Material and Spiritual Prosperity," states that "this should incorporate definite size, proportion, substance, color and quality in detailed picture form...Determine where you wish the object to manifest [the Sahel]. If you know the material substance of which it is composed, memorize its atomic pattern. If not, call to the Divine Intelligence within your Higher Mind to register the pattern for you from the Universal Intelligence and impress it upon your memory body and mind... Call for light to take on the atomic pattern you are holding, to coalesce around the pattern and then to ‘densify’ into form... Call for the multiplication of this atomic structure.. . Ask for the full lowering of the atomic density into three-dimensional form and substance within the pattern established by the matrix of your mind."
"When the visualization of the blueprint within your mind is complete, immediately seal it. The words ‘It is finished!’ are therefore the second fiat of creation... The call of beloved Jesus at the hour of his greatest testing, ‘Nevertheless, not my will but thine, be done,’ when spoken at the moment of the sealing of the matrix, ensures that the guiding forces of power, wisdom and love will amend the precipitated pattern where necessary in order that the more perfect designs of the Creator may come forth... Protect your experiment by guarded action and guarded meditation. Your visualization of a blue light around yourself, your matrix and its manifestation serves to focalize the desired protection."(76)
Figure 7 - Drought-stricken Africa
In your visualization of rain, see a gentle steady rain, not a sudden torrential downpour that would wash away seeds. The best visualization aid for this exercise is to view a real-time satellite image of clouds over Africa.
5. Vocalization. The fifth step is to invoke the creative power of Brahma and Vishnu and their shaktis through your throat chakra by intoning their mantras. Also call forth the object by sounding its Sanskrit name. Rain is "varshham." This is done at the correct pitch for each mantra given in Table 1. Because the pitches span the range of the human voice from bass to soprano, this exercise requires the combined efforts of a couple. The woman would intone the high-note mantras while the man recites the mantras with low notes. The couple should sit back to back with the woman facing the southwest to line up with the nurturing creative energies of the old mother ch’i, and the man facing northeast to align with the playful creative energies of the youngest son ch’i. I will present a method of getting close to the correct pitches, even for tone deaf people, later on. But, in any case, you should also call to your Holy Christ Self to register the precise tones in your throat chakra for you and impress it upon your memory body and mind. Also, call for the full momentum of the mantras from thousands of years of repetition by millions of people. Since we are going from spirit to matter, the sequence is from highest to lowest. That is, from "Aim" (pronounced "I’m") at 852 to "Aum" (Ah Oom) at 639. Then recite the name "varshham" (varsh hahm) at one octave below "Aim" at 426 Hz. This is because the fourth from 852 to 639 is the yin interval of the mother, and the fifth from 639 and 426 is the yang interval of the father. The union of the two gives the octave which contains all potential objects in unmanifest creation. So any desired object would be intoned at a pitch of 426. However, this is only half the sequence; the rain is not physical but etheric. Vishnu and Lakshmi create and nourish physical matter out of akasha. So, we next recite "Shrim" (Shreem) at 528, "Hrim" (Hreem) at 396, and "varshham" again at 264 Hz. to materialize it. Each mantra should be preceded by "OM" to tune the voice to the proper note. This also activates our will which is centered at the Third Eye.
6. Repetition. The sixth step is to repeat step 5 six more times. On the seventh and last repetition, however, instead of reciting the mantras out loud, meditate on them and recite them in your mind subvocally. Thus did God rest on the seventh day.
7. Gratitude. The seventh step is to give thanks to God for the rain, for you have created it. You can shout the fiat, "Hear, O Universe, I AM grateful!" over and over with joy. And remember, tell no one about this alchemy lest their negative thoughts interfere with it.
DESTRUCTION
The process of destruction is necessarily different than that for creation. The first two steps are the same. We still need to purify and charge our chakras and we want to have the highest motive and emotion for destroying, which is fearless compassion for those who would be killed and injured by the meteor. But we don’t want to invoke light; we want to return the light that composes the atoms and molecules of the meteor back to its source. Therefore in step 3, we say an appropriate fiat such as "In the name of Shiva, I command the dissolution and disintegration of this meteor into pure light that it may be returned to God!"
Step four involves visualization of the meteor using the steps of precipitation up to and including calling to the Divine Intelligence within your Holy Christ Self to register the atomic pattern of the meteor. However, instead of calling for the densification and multiplication of this pattern and its materialization into three-dimensional form and substance, call for its etherialization and disintegration into formless fourth-dimensional substance. When your visualization is complete, seal it with the same fiats.
The following image of the meteor is taken from the Millennium Group's web site.
In step five, the sequence of mantras is reversed because, instead of going from spirit to the physical, you are going from the physical to the unmanifest. Thus you would first intone the name of the object to be destroyed, "giri dyau" (gear ree d’yow) at 370.5 Hz. Then intone "Haum" (How’m) at 417, "giri dyau" again at 556, and finally Krim (Cream) at 741 Hz.
The destruction process is different also in that instead of meditating during the seventh repetition, you would dance with joy in a circle as Shiva dances on Mara and as the Israelites danced and clapped their hands on the seventh circuit of Jericho.
HEALING
The healing process should be used to heal someone of a minor condition such as a rash or wart. If you have a loved one who is seriously ill, I would advise that you first seek the help of healing professionals.
For healing, use the creation process steps, only in step 5 just recite the mantras for Vishnu and Lakshmi together with the Sanskrit name for the organ or body part affected. Do this in an ascending sequence from the organ to Vishnu to Lakshmi, since we want to raise the vibration to a healthier state. Then use the destruction process with the Sanskrit name of the disease and the mantras for Shiva and Kali to raise its vibration out of existence. A Sanskrit-English dictionary is on-line at Alkhemy.com
TUNING
Before we can use the instrument of our voices to sound the mantras at the correct pitches, we need a musical instrument to tune our voices. Those who have been trained in singing will be able to do this easily and will likely have a piano or other musical instrument to give the tones. However, there are some who have no training and others who are tone deaf. For these people, I have a solution. Purchase a chromatic tuner. Korg makes an inexpensive CA-20 model that gives a digital readout of the note you are intoning plus a dial readout of how many cents sharp or flat. They still would need a keyboard to sound each tone for a second. Mark each key (e.g. mark 528, one octave above middle C, "Shrim"). The readings you want to get on the tuner would be C +15 cents for 264 and 528, G +17 cents for 396, G# +7 cents for 417, G# +20 cents for 426 and 852, Db +5 cents for 556, Eb +20 cents for 639, F# +2 cents for 370.5 and 741.
This exercise takes about one hour to do. Be sure to take the phone off the hook and put a "do not disturb" sign on your door. Those who want to discuss this exercise on-line before and after doing it can do so at Mandala Forum. You’ll have to register first with www.delphi.com.
A VISION OF CREATION
One night after staying up late researching for this article, I went to bed tired but still mentally active. I could not resolve in my mind the two seemingly contradictory ideas that Vishnu is the Word or son of Brahma, and that Vishnu as Narayana gave rise to Brahma. As my body drifted off to sleep, my mind kept up the debate. Finally, my body fell asleep, but I was still awake. I was out of my body and felt light. The vastness of space opened up before me and I felt I could fly anywhere in the universe at the speed of thought. But instead, I chose to lie still, and, in a sudden stroke of inspiration, recited mentally the mantra, OM Namo Narayanaya! Instantly, light exploded before me, emanating from a central sun of incredible size. The concentric circles of light swirled and became a vast expanding spiral. Then eddies formed in the curves of the spiral as it expanded outward and these became smaller spirals that grew and sprouted even smaller spirals until the entire far-flung universe of galaxies and star systems was created. This vision only lasted a few seconds, but I felt that I had just witnessed billions of years of the creation and evolution of the cosmos fast forwarded a trillion times the speed of light
Mark Prophet, as recorded in "The Lost Teachings of Jesus: Volume Two," said, regarding the effect of chanting this mantra, that "your eyes are actually imbued with a spiritual vision and you begin to sense your existence less subject to the confinements of time and space. All this through the power of the spoken Word -- and it’s the same Word flowing through you now by which the worlds were framed..."(77)
One of the few Western mantra experts, Thomas Ashley-Farrand, wrote in"Healing Mantras: Using Sound Affirmations for Personal Power, Creativity and Healing," that "Om Namo Narayanaya takes the sayer to sublime spiritual realms where spiritual questions are answered and great truths are revealed."(78)
The great truth of creation that was shown to me is this: Narayana is the divine spark in every part of creation. At the highest level of the cosmos, it is the Great Central Sun. In man, it is the three-fold flame. It is the abode of Brahma, Vishnu and Shiva. Just as it is sometimes called the Holy Christ flame, so too is Narayana identified with Vishnu, the second person of the Trinity, because, out of the three, he is the closest to us. His avatars, Jesus and Krishna, are loved by millions.
Figure 1 - Cymatic Sound Form
Figure 6 - Water Molecule