Music is the purest form of art. Therefore true poets, they who are seers, seek to express the universe in terms of music. - Rabindranath Tagore (1861-1941)

Music Therapy * The Power of Harmonics

In the beginning was Brahman with whom was the Word.' - Vedas

Do you know that SILENT and LISTEN are having the same letters?

Music as a Healing Sounds

The Power of Harmonics

Music as a Therapy

Sound as Medicine

As the ancients seemed to know, everything in the universe is in a state of vibration.

Saraswati, the Indian Goddess is of both music and knowledge (science).

Healing Sounds is a great gift for human kind." - Kitaro

Terms & Definitions

Vocal harmonics

Creating vocal harmonics is the process of creating two or more notes at the same time-- an ancient technique used by various spiritual and shamanic traditions including Tibetan Buddhism and Mongolian shamanism. Through sound it is possible to change the rhythms of our brainwaves, as well as our heartbeats and respiration. Jonathan Goldman states that "vocal harmonics can resonate the physical body and etheric fields; they can also vibrate different portions of the brain, which is quite extraordinary.

Esoterically, vocal harmonics may be used to attune with different spirits and deities."

Overtoning

Overtoning is another, more advanced, aspect of this in which we can learn to project these harmonics into another person with whom we are working. Just as one can project healing energy through touch, as in Reiki, the same can be done with the voice. This is a powerful aspect of overtoning-- learning to project sacred sounds for healing another.

Entrainment

Entrainment is defined by Jonathan Goldman as "the ability of the more powerful rhythmic vibrations of one object to change the less powerful rhythmic vibrations of another object and cause the second object to synchronize its rhythms with the first object."

Brain waves

The brain produces shifting frequencies of its own during normal operation. During sleep, we experience very slow waves called delta that fluctuate between 0.5 Hz and 3 Hz (cycles per second). Waking brain function creates waves from 14 to 20 Hz and are called beta waves. Alpha waves are created during periods of meditation and trance, and cycle between 8 and 13 Hz. Theta waves, at cycles of 4 to 7 Hz are created during gateways between sleep and rational activity.

Music takes us out of the actual and whispers to us dim secrets that startle our wonder as to who we are, and for what, whence and whereto. - Ralph Waldo Emerson (1803-1882)

Mantra and Chanting

Mantras are single words, syllables or phrases that are repeated or sung in a continuous, rhythmic way. This focuses the mind, eliminates other thoughts, and assists in integrating heightened awareness and consciousness.

The Chakra System

Chakras are a complex web of wheels of energy within the body that are outlined extensively in Eastern medicine. They have been associated with the endocrine system of the body, particularly in Hindu and Tibetan Buddhist practices, for thousands of years.
Although some systems of nomenclature correlate specific sounds with each of the energy centers, in truth each individual possesses a unique range of harmonics-- as unique as one's fingerprint-- that constantly shift and change from moment to moment, like an intricate and complex symphony.

Toning

Toning is a practice which refers to the intentional elongation of a vowel sound using the voice. In other contexts, it is a term used used to refer to stimulating health, invigorating the body, or as in a 'tonic'-- a medicine to balance the body. Toning is usually done with one tone, which differentiates it from chanting which involves multiple notes in sequence. This is a process of allowing one's own voice to find and produce notes needed by one's own body. Don Campbell states that when we do this for long periods "...we can stimulate the limbic area [of the brain] to reduce stress and give us a sense of well-being. Toning creates a deep sense of being bonded within ourselves. We can reach a state of contentment in a safe and fully aware state of mind." Stephen Halpern suggests singing in the shower: "The hard, reflective acoustical surfaces in the bathroom enhance the voice… Just toning certain vowels by hitting a low note and creating a gradual glissando to a high pitch will trigger some interesting responses in the body."
Toning in a group -- this creates a synergistic effect. When two or more people create separate harmonics, a third harmonic occurs. Barbara Marciniak in Bringers of the Dawn states, "When you tone with others, you have access to the group mind that you did not have prior to making the sound. It is a gigantic leap in consciousness. The key word is harmony. When the entire planet can create a harmonic of thought, the entire planet will change…a return to the power of the group mind and the simultaneous empowerment of the individual."

Tuning Forks

Dr. John Beaulieu, teacher and musician, writes that "When we listen to intervals produced by the tuning forks we stimulate our vestibular nerves, [which is] the basis of our sense of space, proportion, and balance. [This process] harmonically organizes the motion of the individual cranial bones with the sacrum and the sound of the central nervous system." For this reason, he states, the nervous system entrains to and re-aligns with the intervals created by tuning forks, and other instruments as well.

The Perfect Fifth

Dr. Beaulieu notes that the ancient Chinese philosopher Lao Tzu referred to the "Perfect Fifth" (the interval created by the tones C and G) as the sound of Universal harmony, balancing yin and yang. In India, this interval is believed to create a sound by which Shiva calls Shakti to the dance of life, initiating the creation of all form. In the human body, the interval of the fifth is seen in the proportion of the ratio of the distance between the extended tow to the top of the sacrum relative to the distance from the top of the sacrum to the top of the head. These musical ratios exist throughout the body.

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Different brainwave rates have been equated to different states of consciousness. There are four basic categories of brainwaves, based upon cycles per second (hertz or hz), the measurements given to sound. They are :

No.	Waves	Hertz	When found
1	beta waves	14 to 20 hz	Found in normal waking state of consciousness.
2	alpha waves	8 to 13 hz	Occur when we daydream or meditate.
3	theta waves	4 to 7 hz	Occur in state of deep meditation and sleep, as well as in shamanic activity.
4	delta waves	0.5 to 3 hz	Occur in deep sleep and have been found in very profound of meditation and healing.

... Frequency + Intention = Healing

harmonics created using C vibrating at 256hz as the fundamental

	Note	Interval	Solfege	Harmonic	Frequency
1	C	Unison	do (1)	1st partial	256 hz
2	C	Octave	do (2)	2nd partial	512 hz
3	G	Perfect fifth	sol (1)	3rd partial	768 hz
4	C	Octave	do (3)	4th partial	1024 hz
5	E	Major third	mi (1)	5th partial	1280 hz
6	G	Perfect fifth	sol (2)	6th partial	1536 hz
7	Bb-	Minor seventh	sib (1)	7th partial	1792 hz
8	C	Octave	do (4)	8th partial	2048 hz
9	D	Major second	re (1)	9th partial	2304 hz
10	E	Major third	mi (1)	10th partial	2560 hz
11	F#-	Augmented fourth	fa# (1)	11th partial	2816 hz
12	G	Perfect fifth	sol (3)	12th partial	3072 hz
13	A-	Minor sixth	lab (1)	13th partial	3328 hz
14	Bb-	Minor seventh	sib (2)	14th partial	3584 hz
15	B	Major seventh	si (1)	15th partial	3840 hz
16	C	Octave	do (5)	16th partial	4096 hz

Glossary of Indian Music

Achal : Achal Swaras are the fixed swaras of the seven musical notes. Sa and Pa are the achal swaras of the Indian classical music.
Arohi - The term Arohi, also known as Arohana and Aroh, is used to define the ascending melody in music.
Avirbhav - Avirbhav is that technique of presenting the raga, in which the raga is noticeably expanded and exhibited
Abhoga - The last stage of a musical composition, especially in the Drupad music.
Alaap - Alaap is the free flow of the Raga, in which there are no words and no fixed rhythm. It is the purest from of melody.
Andolan - Andolan refers to a slow alternation between the notes and shrutis that are next to each other.
Ang - The term 'Ang' refers to the root to which a particular raga belongs. For example, Tantrakari Ang (instrumental style of music)
Alankar - Alankaras are those notes and features that differentiate one raga from the other.
Antar Gandhar - One of the variable forms of the third note 'Ga' of Indian Classical Music.
Antara - Antara is the second stage of a musical composition that emphasizes the upper half of the octave-range.
Antya - Antya is the last section of a musical composition, after which the recital ends.
Anuvadi - Those notes of a raga that are neither highlighted nor downplayed are known as Anuvadi notes.
Asthai - Asthai is the first as well as the fundamental part of a composition, which is repeated during the entire alaap.
Asthan - The octave region of a raga is known as its Asthan. For example, the lower octave region is known as the Mandar Asthan.
Ati - The term Ati refers to an extreme in a raga. For example, Ati Vilambit Laya means extremely slow tempo.
Audava - Audava is a raga that has only five notes i.e. 'Paanch Swaras'.
Avarohi - The term Avarohi, also known as Avarohana and Avaroh, is used to define the descending melody in music.
Bhajan - A devotional song eulogizing Indian Gods and Goddesses. Sung in light classical style, it is usually set to 6, 7 or 8 beat cycles.
Bol - The term 'Bol' refers to the words making up a vocal composition.
Carnatic - Ancient classical music of South India is known as Carnatic Music
Chakra - As per the Melakarta table of raga classification, Chakras are the twelve groups according to which the ragas are categorized.
Chalan - Chalan is the makeup of a musical composition, which embodies the movement of a particular raga.
Chautalaa - Chautalaa is the musical cycle that consists of fourteen beats.
Dadra Tal - Dadra Tal is the common cycle in the lighter forms of music, comprising of six or three beats.
Deepchandi Tal - Deepchandi Tal is the tabla composition with fourteen beats
Dhamar Tal - Dhamar Tal is the fourteen beat Tal that has a '5+2+3+4' vibhag pattern.
Dhaivata - Dhaivata is the sixth of the seven swaras or notes of the Indian classical scale.
Drut - Drut is the term denoting the fast tempo or speed of the Tal.
Ektal - Ektal is that Tal of the Indian classical music in which the 12 matras are divided into 6 vibhags, each of them having two matras.
Gandhar - Gandhar is 'Ga', the third musical note of Indian Classical Music.
Gayaki - Gayaki is one of the several styles of singing.
Geet - Geet is the Indian term for a song or composition.
Ghazal - Ghazal is a poetic-cum-musical form of Hindustani light music, with Persian and Urdu poetic influences.
Grama - Gramas are the basic notes employed in musical tradition. Initially there were three gramas - Shadaja, Madhyama and Gandhar.
Hindustani - Hindustani Classical Music is the form of Indian classical music that developed in northern parts of India.
Jati - Jati refers to the classification of musical compositions as per the tones.
Jhaptal - Jhaptal is an Indian rhythmic form with a ten-beat cycle.
Jhumra Tal - Jhumra Tal is a slow Indian rhythmic form of 14 (3+4+3+4) beats.
Kan - Kan is the grace note of a musical composition.
Keharwa Tal - Keharwa Tal is the one of the rhythms of the Indian classical music, which has an eight beat cycle.
Komal - The flat form of a note or swar in the classical music of India.
Kriti - Kriti is a format of a musical composition that characterizes the Carnatic form of music.
Lakshan - An introduction to the ragas is known as Lakshan. It comprises of a set of rules and principles.
Laya - Laya can be described as the tempo or speed of the Tal.
Madhya Saptak - The basic saptak, with middle octave region, is known as the Madhya Saptak.
Madhya Laya - Madhya Laya is the medium tempo or speed of the Tal.
Madhyama - Madhyama is 'Ma', the fourth musical note of Indian Classical Music.
Mandra - Mandra refers to the lower scale notes of the raga, written with dots underneath them.
Meend - Meend is an unbroken flow of a musical progression, from higher to lower notes.
Mela - Mela is the basic organization of the notes in aroha and avaroha melody.
Mishra - A Mishra melody is that melody which has features of more than one raga. "
Mridangam - Mridangam is a drumming instrument, used in the Carnatic music of South India.
Nada - The raga or musical notes in music are known as nada vibrations. There are basically two types of Nadas - Ahata (struck) and Unahata (un-struck).
Nada Brahma - The concept of Nada Brahma means that the whole universe was created from the energy of sound.
Nataka - Nataka is the Hindi term used for defining a theater performance.
Nyasa - Nyasa is the last note of a specific phrase of notes, which leads to its ending.
Nishadha - Nishadha is 'Ni', the seventh musical note of Indian Classical Music.
Pakad - Pakad is the catch phrase of note combinations, which normally comprises of five notes. It characterizes the flow of a raga.
Panchama - Panchama is 'Pa', the fifth musical note of Indian Classical Music.
Pandit - Pandit is a term of respect, used to refer to the masters or scholars in the field of Indian Classical Music.
Poorvang - The lower region of an octave, from Sa to Ma (Sa Re Ga Ma) is known as the Poorvang.
Prati - The term Prati is used to define a sharp musical note i.e. a musical note that is higher in pitch by a semitone.
Raga - Raga is the basic organization of the thirteen musical notes in a composition, as per specific rules.
Ragini - Ragini is the feminine form of raga. It is usually described as a summary of the main theme of the melody.
Rasa - Rasa is the term used to define the emotional state or quality of the raga and ragini. There are nine rasas in classical music.
Rasik - Rasik is name given to the composer of a Rasa.
Rishabha - Rishabha is 'Re', the second musical note of Indian Classical Music.
Rupak Tal - Rupak Tal is an Indian rhythmic form, which comprises of seven beats.
Sanchari - Sanchari is the third subsection of a musical composition that comprises of all the regions of the octave.
Sangeet - Sangeet is the Hindu term used to define music.
Sampooran - Sampooran ragas are those ragas that comprise of all the seven notes.
Samvadi - Samvadi is the second most important class into which the notes in the basic musical gamut are divided.
Sandhi Prakash - The ragas that are performed during the hours of twilight or dusk are called Sandhi Prakash Ragas.
Saptak - Saptak means the set of seven swars or seven notes of the Indian Classical Music.
Sargam - Sargam is the term used to define the scale of notes used in the composition of music.
Shadaja - Shadaja is 'Sa', the first musical note of Indian Classical Music.
Shastra - Shastra is the treatise or text that explains the timeless rules and principles behind music.
Shaudava - Shaudava Raga is the raga that comprises of six notes in its ascending or descending movement.
Shruti - Shruti is the sound interval between recognized notes or swaras.
Shudha - The pure and natural notes or swaras are known as Shudha Swaras.
Swara - Swaras are the musical notes of a composition.
Swaroop - The term Swaroop refers to the image of a raga.
Tabla - Tabla is a North Indian drum set, which comprises of the Dagga (bass drum) and the Tabla (Treble drum)
Tal - Tal is a predisposed arrangement of beats, in a certain tempo
Tan - An improvised vocal or instrumental musical phrase
Tanpura - String instrument used for drone; Tanpura means to fill the void behind the music; to complete or assist a tan; a. k. a. Tamboora
Tar - Tar is a fast-paced musical and melodic amplification of vocal as well as instrumental classical music.
Tamboora - Tamboora is a musical instrument made from a gourd (Tumba). It is also known as Tanpura.
Thaat - Thaat is Pandit Bhatkande's classification of all the ragas into one of ten parent scales.
Thumri - Thumri is a form of 'light-classical' vocal music. It does not follow the tala and raga rules of music very rigidly.
Tintal (Teental) - Tintal is an Indian rhythmic tal with sixteen beats, in four equal divisions.
Tirobhav - Tirobhav basically means the process of concealing a raga on a temporary basis.
Tivra - Tivra means the highest state (pitch) of the two notes, madhyama and nishad.
Uttarang - Uttarang is the higher tetra-chord of an octave, which comprises of Pa, Dha, Ni and Sa notes.
Vadi - Vadi is the note that holds the maximum importance in a raga.
Vakra - Vakra Raga is one of the four Janya Ragas and has swaras in a non-sequential order.
Varana - The four Varanas are the four basic ways, on the basis of which musical tones are organized.
Varjit - Varjit note is the note that is deleted from the Arohi or Avarohi of its derivative Ragas.
Vikrit - Vikrit notes are the modified notes used in the raga.
Vilambit - The term Vilambit is used to denote the slow speed or tempo of the Tal.
Vivadi - Vivadi notes are those notes that are either not included in a raga or are used very rarely.

Architecture is frozen Music - Johann Wolfgang Von Goethe, the German man of writer, astrologer, scientific investigator.

Indian Classical Music * Architecture

Note Intl.	Bird Beast	Family	Caste	Color	Island	Rishi	God	Chhand	Sentiment
Shadaj(Sa) C	Peacock	Dev	Brahmin	Red	Jambu	Agni	Agni	Anushtup	Bravery, astonishment
Rishabh(Re) D	Chetak	Rishi	Kshatri	Yellow	Shak	Brahman	Brahma	Gayatri	Bravery, astonishment
Gandhar(Ga) E	He-Goat	Dev	Vaishya	Golden	Kush	Chandra	Saraswati	Trishtup	Pity
Madhyam(Ma) F	Karaunch	Dev	Brahmin	Kund	Karaunch	Vishnu	Mahadev	Brihati	Laughter, Make up
Pancham(Pa) G	Nightingale	Pitri	Brahmin	Black	Shalmali	Narad	Vishnu	Pankti	Laughter, Make up
Dhaivat(Dha) B	Frog	Rishi	Kshatri	Pote	Shavait	Tumbru	Ganesh	Ushinak	Surprise, dread
Nishad(Nee) A	Elephant	Asur	Vaishya	Mixed	Pushkar	Tumbru	Surya	Jagti	Pity

Definitions

No	Season	Months ( Vikramadi Calendar)	Months (Gregorean Calendar)
1	Basant	Chaitra -  - Vaishakh	Spring - 15 March - 15 May
2	Greeshma	Jeth - Ashad	Hot - 16 May - 15 July
3	Varsha	Shravan - Bhadrapad	Rainy - 15 July - 15 September
4	Pat Jhar	Ashwin - Kartik	Autumn - 16 September - 15 November
5	Sharad	Maghshirsh - Paush	Cold - 16 November - 15 January
6	Shishir	Magh - Phagun	Winter - 16 January - 14 March

Note & Its Climatic Effects & Its Color

Note		Climatic Effect	Color
Sa	C	Colder	Pink
Re	D	Cold and Dry	Orange
Ga	E	Cold	Green ( like leaves)
Ma	F	Hot and Dry	White like that of motia or nargis (Narcissus)
Pa	G	Hot and Dry	Red or deep brown
Dha	A	Pleasant	Black
Nee	B	Cold and Dry	Yellow

There is relationship between notes and colours which is meant for brightening the lives of human beings through music. No wonder then that the ancient master musicians felt attracted by colours and linked them with the enchanting musical notes.

Ragini

From the first break of the dawn to the arrival of moonlight; from the thunder of dark languid clouds to the colorful blossoms of spring; Indian Classical Music has a rich treasure of Raags and Raginis portraying the beauty of all its colorful seasons, moods, festivities and celebrations. For centuries, these vivid Raginis have lent voice to a poet's imagination, an artist's rendition, a lover's passion. Inspiring and moving, at times; soothing and relaxing, on other occasions; this eternal collection of Ragini is our greatest inheritance and an inimitable gift - for the rest of the world. The sublime sounds of these Raginis are now captured and thoughtfully woven into artful pictures.

Definitions

• Ragini - Todi : The music flowing from the veena of Ragini Todi mesmerizes even the deers of the forest. Traditionally she has been depicted as a young lady who can charm everyone by her music and beauty.
• Ragini Vasanti : Vasanti symbolizes the advent of spring. New leaves, flower buds and her vibrant mood, all make the atmosphere fully enchanting.
• Ragini - Pat Manjari : Living in separation from her loved one, Patamanjari has been depicted in a gloomy mood. The beauty of the nature around her doubles her grief. She finds solace caresing the pet whom her beloved likes so much.
• Ragini Saveri : The monring rays bring with them a ray of hope, fragrance of flowers and a flight of imagination in the infinite sky for this Ragini. Her life is full of love and satisfaction.
• Ragini Gunkari : Gunakari waits in vain for her lover who is away singing throughout the night. Her single-minded devotion has been symbolized by the lamp that has been burning through the night.
• Ragini Bhairavi : Ragini Bhairavi adores Lord Shiva (Bhairav) with Lotus flowers. She symbolizes pure love.
• Ragini Madhumadhavi : Totally satisfied with her love, Ragini Madhumadhavi considers herself a blessed one.
• Ragini Malhari : Ragini Malhari sings a song of love in the memory of her loved one on the beats of "Damaru". The rainy-season has come but his beloved is still in a far-away land.
• Ragini Gujari : Ragini Gujari wears a fragrant garland and charms wild animals and birds alike as she touches the strings of her Veena.
• Ragini Dhanashree : This teen-age Ragini is trying to forget the pangs of separation by watching animals play.
• Ragini Asavari : Ragini Asavari has been shown on the Malaya mountain. She is wearing a necklace of Pearls. Fragrance of her body attracts the serpents so much that they want to embrace her instead of sandal trees.
• Ragini Kukubh : Holding a veena in her hand this Ragini draws peacocks closer to her. The melody of her music attracts even the branches of the trees towards her.

"It occurred to me by intuition, and music was the driving force behind that intuition. My discovery was the result of musical perception." [When asked about his theory of relativity] - Albert Einstein (1879-1955)

About Sound and Form

In the Yoga tradition there are certain mantras (sound syllables) and yantras (forms to meditate on) which belong together. The form which belongs to the mantra Om is said to be Sri Yantra, and vice versa.

Is this relationship between form and sound a purely subjective experience - one that certain people claim to have seen within? Or can it be measured?

Dr. Hans Jenny spent his life investigating the connection between sounds and forms. He was one of the world's foremost researchers in the field and the founder of the science of Cymatics. In his Wave Phenomena Research Institute in Switzerland, around 1970, he constructed what is called a tonoscope - an apparatus which converts sounds into forms. He wrote several books on Cymatics and documented through films and photos the influence of sounds on various materials.

What the heck is Cymatics anyway....

Cymatics is the study of the structure and dynamics of waves and vibrations. These are fundamentals of music and development of life. Without these waves & vibrations there is no creation, sound or music.

in 1787, the musician, physicist and jurist, Ernst Chladni laid the foundations for the study of acoustics, the science of sound. Among Chladni's successes was finding a way to make visible what sound waves generate. With the help of a violin bow which he played perpendicularly across the edge of flat plates covered with sand, he produced patterns and shapes today called Chladni figures. Chladni demonstrated that sound actually does affect physical matter and that it has the potential for creating geometric patterns.

Later in 1967 the late Hans Jenny, a Swiss doctor, artist, and researcher, published the bilingual book Kymatik -Wellen und Schwingungen mit ihrer Struktur und Dynamik/ Cymatics - The Structure and Dynamics of Waves and Vibrations. In this book Jenny, like Chladni hundreds of years earlier, showed what happens when one takes various materials like sand, spores, iron filings, water, and viscous substances, and places them on vibrating metal plates. What then appears are shapes and motion- patterns which vary from the nearly perfectly ordered and stationary to those that are turbulently developing, organic, and constantly in motion. The tonoscope was constructed to make the human voice visible without any electronic apparatus as an intermediate link. This yielded the amazing possibility of being able to see the physical image of the vowel, tone or song a human being produced directly. Not only could you hear a melody, you could see it.

"The universe, believe it or not, is nothing other than a giant musical instrument with a very special but predictable pattern of harmonically related  oscillations which determine the structure of everything from galactic clusters to subatomic particles. The single axiom of the Harmonics theory is that ... the universe consists of a wave which develops harmonics and each of these waves does the same."

 - Ray Tomes - Cycles In The Universe

Author:As published in The Spirit of Ma'at (March 2001)

A Re-Soundingly Successful Experiment

Recently, in Germany, researchers took the DNA of a 17-year-old boy, recorded its sound frequencies, and saved them. The boy was accidentally killed, but the scientists still had his DNA frequency patterns. Later, the DNA frequencies of the 17-year-old were transmitted into the body of a man in his late thirties. And the man almost became the young boy. His skin became youthful, he became slim, his hair went back to its natural color. Today he's in his forties and he still looks like a much younger man.
–Sir Peter Guy Manning, M.D.

Cymatics As Science

In the early 18th century, the German physicist Ernst Chladni, the ''father of acoustics,'' covered plates with thin layers of sand, set them vibrating, and observed the patterns that were made in response to different sound stimuli.

In 1967, nearly three hundred years later, Hans Jenny, a Swiss doctor, artist, and researcher, published Cymatics – The Structure and Dynamics of Waves and Vibrations. In this book, published in both German and English, Jenny, like his precursor, showed what happens when one takes various materials like sand, water, or iron filings, and places them on vibrating metal surfaces.

When this is done, shapes and motion-patterns appear. Some of these patterns are nearly perfectly ordered and are stationary. Others develop in a turbulent, organic fashion, and are constantly in motion.

Jenny used crystal oscillators, and invented what he called a ''tonoscope'' to set his plates and membranes vibrating. One of the most fascinating discoveries he made was that the vowels of Hebrew and Sanskrit, when toned into his media, formed the actual patterns of the letters themselves! Modern languages did not have this effect. All of which leads to the speculation that there may be some truth in the concept of a ''sacred language'' — an actual, physical reason why the recitation of sacred mantras and texts may have real healing properties.

Jenny thought that evolution was a result of vibrations, with the vibrations of one level of organization, such as that of cells, each one unique, combining to create glands and organs and so on, each new level being a harmonic of the previous one. Jenny saw that we could heal the body with sound by understanding how different frequencies influence the genes, cells, and organs of the body.

Out of Jenny's work, and that of other scientists in the late fifties, came the reality of using sound to transmute diseased cells into their healthy counterparts.

Enter the Age of Miracles

It was Sir Peter Guy Manners, British medical doctor and osteopath, who collated the work that had been done in cymatics research and developed from it the therapy of Cymatics. Stated most simply, Cymatics therapy uses a toning device to transmit into diseased areas of the body the signature vibrations of healthy organs and tissues.

We called Dr. Manners at his academy in Bretforton, England. He told us that he had started off in ordinary medicine, but that a couple years into his training he'd reached a startling realization.

As part of my training, I and my fellow students would observe doctors in the process of treating their patients. And so we are sitting there with this doctor, and some patient comes in with a headache, and the doctor says, 'Take these two tablets.' And the patient goes off. But he comes back in a fortnight or so, a couple weeks, and he says, 'Those tablets did the trick, but now I've got a little tummy upset.' And we watch the doctor give him some different tablets, and he goes off. And then later this same patient is back again, 'Oh, those tablets were wonderful, but now I've got a bit of diarrhea, you see.'

''And I realized, we started out with one patient, and now we've got three!''

Knowing that there had to be a better way of healing than what was taught to him in medical school, Dr. Manners traveled all over the world seeking to find out what other options existed for treating patients. He spent time studying with scientists in Germany (''I liked the kind of research they were doing''), Russia, and the United States.

Somewhere in his travels, Manners met up with Hans Jenny. ''He was interested in making forms and shapes with sound, and these coincided with the forms and shapes of anatomy and physiology,'' Dr. Manners said. Out of this observation came Cymatics, or Bioresonance, therapy – the use of sound to transform diseased tissue into its healthy counterpart.

Cymatics probes are used to transmit bioresonance energy, in the form of electronic pulses, from the Cymatics instrument directly to human tissue. Another method of application is through fluids. Water or a homeopathic preparation is placed on a Bioresonance Energizer, which imprints the bioenergetic patterns into the solution. Also, there are units which can transmit bioenergy patterns into a bathtub or hydrotherapy unit. Yet another unit combines bioenergetic frequencies with color.

You can see how all of this works by realizing that there is no difference between the energetic pattern of an object and the object itself. We are made of energy. If we transmit a healthy frequency into diseased tissue, we cause it to take on the frequency — and thus, the actuality — of healthy tissue.

When asked what brings people to Cymatics therapy, Dr. Manners said, ''They choose it because a tremendous percentage want to move out of the drug scene.'' And he stresses that, at least in the U.K., Cymatics has earned scientific recognition. "Scientists like it because its techniques can be explained and quantified, and the results are predictable. We know scientifically what will happen,'' Manners said, ''if we transmit a certain combination of frequencies into the tissue.''

The instrument that is used to transmit sound vibrations into the human body is currently known as the Mark VI. It has replaced Mark I through V. ''This instrument,'' Dr. Manners says, ''holds up to 390 commutations of frequencies, sounds which will regenerate organs and tissues in the body.''

Cymatics and the Fountain of Youth

Perhaps the most exciting possible application of Cymatics, as we indicate in the story that leads off this article, is its potential to reverse the aging process.

''When you're born,'' Dr. Manners said, ''every cell multiplies. Then, at puberty, the frequency patterns of the cells change, and instead of multiplying, cell replaces cell. As we age, cells still replace each other, but the tempo slows down.

''Within a few years of time we will be able to prevent this slowing down of cell replacement. And this can all be done with sound. If we take a frequency sample of your DNA at age 18, and save it, then later, if we transmit this frequency to your cells, they will rejuvenate.''

The Future of Advanced Medicine

Sir Peter Guy Manners is an M.D. ''But I don't administer drugs,'' he says. Drugs, he claims, are destructive. The type of medicine he practices is constructive. And although in the United States constructive healing modalities go under the name of ''alternative therapy,'' in the United Kingdom they are referred to as Advanced Medicine. And the doctors who practice Advanced Medicine, instead of being hounded by professional and governmental organizations, may even aspire to knighthood.

''It used to be, when doctors didn't know how to heal an arm or a leg, they just amputated it,'' Manners said. ''By the year 2010, medicine as it's known today will be as out of date as chopping off limbs. Prepare to accept the wonders of technology as established, scientific fact. Miracles will become the natural thing.

''Miracles,'' concludes Dr. Manners, ''were simply things people didn't understand. Today, we can explain miracles. Miracles fit right in with advanced technology.''

There are Cymatics clinics in many countries, and more Cymatics therapists are needed. If you would personally like to pursue Cymatics therapy, as a subject or as a career, Dr. Manners invites you to call or write to him. His contact information, biography, and more information about Cymatics can be found at cymatics.org.uk.