Compromises May not last Even the best Self-imposed Eventually Come free In harmony With the whole Whatever way It’s one’s own That will lead Through time And space Beyond it all Heart and soul Spirit’s home Always was Is and will be In the flow Of life and love Light and sound The divine Protection Guides ahead Freedom In a world Of war and peace.
“Pro-Reg fusion” — a meditative sound sample
HexaBluMin — sound sample, calm — 8-string guitar, tanpura — 2:19 —as loop on a separate tab(or via right-click browser option, where available) —You may enjoy a tonality loop as sound mantra for contemplation or meditation, for upliftment, focusing, or as soothing background sound for relaxation and regeneration.
From “The Boy, the Mole, the Fox and the Horse” by Charlie Mackesy
“What do you think success is?” asked the boy. “To love,” said the mole.
“Isn’t it odd. We can only see our outsides, but nearly everything happens on the inside.”
“Is your glass half empty or half full?” asked the mole. “I think I’m grateful to have a glass.” said the boy.
Back to the roots, the beginnings and endings
Celebration at the gates of murmuring sounds — December 2022 — Weng, entrance to the Gesäuse, Austria
A miracle of nature Everything comes around Regressive turns progressive All by itself, if left in freedom As long as dual distinctions Like negative and positive Split reality and all in two Finally it becomes three When duality melts to unity In a realization of the divine Unless pulled back in strife By some lack of discipline Needed to go beyond splits And dwell in consciousness Everyone as individual soul In a community of heaven And earth to be tended Entrusted and trusting Dear renewal of life And love most of all Spirit and the divine Who dares call on God Participating continually Working together closely Conscious and aware As it realizes itself Not one or another But everyone and all Embraced by love.
“Never give up, let go completely” — a miracle of nature
ReachMin — 8-string guitar — December 2022 — 5:05 — as loop on a separate tab(or via right-click, if available)
Terminology let go Of possible finality To open ever more Spiritual freedoms Beyond expectation That could be seen Ahead or imagined Focus on the divine Liberate and settle Spirit, God present A scripture purged From dogma strains Deactivate limitations That claim what’s not Then fully dedicate Attention and love To what seems real Observing with joy Such sweet blessings How God realizes itself Every moment here and now
“Conscious derivative” — an island memory
HexaBlueUp (BlueUp derivative w/o 7+) — 8-string guitar, tanpura — 5:23 —(loop via right-click, if available)
A word of wisdom — free of terminology
“The words are seals of the mind—results or, more correctly, stations—of an infinite series of experiences which reach from an unimaginably distant past into the present, and which feel their way into an equally unimaginably distant future. They are the audible that clings to the inaudible, the forms and potentialities of soul, that which grows and unfolds into perfection.
“The essential nature of words is, therefore, neither exhausted by their present meaning, nor is their importance confined to their usefulness as transmitters of thoughts and ideas; but they express, at the time, qualities which are not translatable into concepts. This is like a melody which, though it may be associated with a deep meaning, cannot be described by words or by any other medium of expression. It is that irrational quality which stirs up our deepest feelings, elevates our innermost being, and makes it vibrate with those with whom we are closely related in love and work.”
— The Shariyat-Ki-Sugmad, Books One & Two, Paul Twitchell, pp. 414-415
Grateful for next generation help to let go of terminology
One son’s talisman holding out across decades and ages — specifically that is from the 90’s to the present or a few millennia — November 2022 — from Bern and Boston
Not someone else No matter who it is But you — yourself Create and carry life In your personal space Not the past or future But the moment now Counts in every reality Separated from illusion Because we are mixed Together in this world Of space and of time Energy and matter That we hold dear And also what not Is your own choice To determine freely Detached of others All the propaganda And good intentions Healthy discrimination Can well turn on itself As balance is needed Be healed by looking Deep into God’s eye Listening patiently To the song of life That — love is all.
“HeptaNa Gita” — harmonics medley
HeptaNa / LydAeolian — 8-string guitar, big gong, tanpura — 3:46 —(loop via right-click, if available)
The tonality HeptaNa / LydAeolian, aka Lydian dominant ♭6 (related to the Neapolitan major scale), is remarkable in that its pitches are the first seven overtones or harmonics of its fundamental. “Hepta” indicates seven and “Na” natural harmonics. You can find the first six harmonics listed in the previous blog post Into the depth of soul along with their use in the piece “HexaNa Gita” — harmonic six-pack. The additional harmonic in HeptaNa, the seventh one, is the minor sixth, which contributes a somewhat melancholic feel (in slight contrast to the touch of LydDorian in “HexaNa Gita”). The other name of HeptaNa, LydAeolian indicates that its lower tertachord is Lydian and the upper PhrygAeolian.
See and hear yourself, not someone else
See for yourself, just before the sun rises over the Alps — November 2022 — Grächwil, Switzerland
Looking into the depth of soul — Breaking through the superficial Black and white to all the colors Duality tends to argue and fight Why not just simply all together Such a great force of evolution Not the fittest or the strongest But the one cooperating most An ever new consciousness Like a phoenix from ashes Does the old have to burn Or can it just step aside Make room for the new Generation merry go round Heaping not just much trash But the unfoldment of all Consciousness and love Appreciation and care For oneself, others, all A world that is home Such beauty of nature God has made the earth We can plant a few flowers Or trample them—too often For black and white views Too prevalent in humanity Until able to perceive colors Appreciate them all together The spirit of life and of love All free beyond the surface Big round eyes open so wide Looking into the depth of soul.
“HexaNa Gita” — harmonic six-pack
HexaNa w/a touch ClusterPro / LydDorian (a.k.a. acoustic scale or Lydian dominant) — 8-string guitar and tanpura — 3:19 — as loop on a separate tab (or via right-click, if available)
The tonality HexaNa is remarkable in that its pitches are the first six overtones or harmonics of its fundamental. Though our hearing may only perceive the first few harmonics of a fundamental with relative clarity, further overtones or harmonics contribute much to the feel and timbre of a sound, of an instrument or a composition.
The initial six harmonics or overtones in their distinct sequence are: 1) fundamental, 2) quint or fifth, 3) major third, 4) minor seventh, 5) major second, and 6) tritone. Their actual order of appearance in the series of harmonics shows their prevalence and relative importance: 1) fundamental, 2) octave, 3) quint, 4) octave, 5) major third, 6) quint, 7) minor seventh, 8) octave, 9) major second, 10) major third, 11) tritone, 12) quint, etc. Thus, within the first twelve harmonics, the fundamental or octave occurs four times, the quint three times, the major third twice; and the minor seventh, major second, and tritone each appear but once and in this order of decreasing prevalence.
The tritone — the sixth distinct harmonic
Generally in Western music, the tritone, which is the sixth overtone in their distinct sequence or the eleventh in appearance, tends to be suppressed. In exact tuning it does not fit well into the grid of tempered twelve-pitch tuning. As such, the hammers of a piano apparently strike their strings exactly and purposely in the place where this harmonic originates, in order to suppress it.
Finally, from Wikipedia a historical glimpse on the tritone: “The tritone is a restless interval, classed as a dissonance in Western music from the early Middle Ages through to the end of the common practice period [the era of the tonal system, roughly to 1900]. This interval was frequently avoided… because of its dissonant quality… Until the end of the Renaissance the tritone was regarded as an unstable interval and rejected… The name diabolus in musica (Latin for ‘the devil in music’) has been applied to the interval… designated as a ‘dangerous’ interval… That original symbolic association with the devil and its avoidance led to Western cultural convention seeing the tritone as suggesting ‘evil’ in music.” — This is an example of how humans kept and keep falling into entanglement with duality, separating and excluding instead of unifying and embracing what is in front of us.
Because. Therefore. Further. Still. The depth of soul…
Cooling feet in glacial melt water — Oct. 2022 — Lake Öschinen, Switzerland — photo by Karin Gsöllpointner
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