The New Tuning, or Crystal Spiral Tuning, offers access to a completely new musical universe. The tuning no longer has the Pythagorean Comma (the difference as a ratio between twelve fifths with a frequency ratio 3:2 and seven octaves with a frequency ratio 1:2). So far all music has on earth, from thousands of years before the beginning of our era to contemporary music, from China to India, from America to Europe, has to do with this comma.
In our Western music, people have tried to solve the problem by dividing the comma over all the notes of an octave. However, this is not a real solution because then all notes - except the octave - become out of tune, but through habit we no longer hear this. For others, who have not forgotten how to listen subtly, Western music is an attack on the ear.
In India, for example, where music is used to translate human moods into sound and vice versa, different musical tunings are used to express our play on emotions. All these tunings - which are a consequence of the existence of the Pythagorean Comma - are divided between day and night. Music without a comma goes so by definition a new era.
Technically speaking, the tuning consists of 24 notes that together produce a crystal spiral of sounds. When listening to music in the new tuning deep relaxation may arise, partly because Crystal Music also tunes our brain waves in a completely new way. This gives access to deep inner experiences.
How is it possible that the Pythagorean Comma problem has never been solved before? The answer is actually simple. If a problem not with the existing one resources can be solved, one must step outside the existing framework. That happened at the Kristal Music Tuning.
Musical proportions and the geometry behind them have a major influence on our consciousness. Our current music and musical instruments are based on the Golden Ratio spiral and the Fibonacci numbers. The Crystal Music Tuning consists of two parts of 12 notes. Both parts combined produce a crystal spiral of new sounds. Because of this new, previously unknown spiral shape, the crystal tuning is also called called 'cosmic mood'. The new cosmic mood completely rises above the limitations dictated by Fibonacci's geometry and leads to a sensational and revolutionary new musical adventure. It offers a solution for being confined in a limited and limiting thinking system (Plato's Cave is the metaphor for this thinking framework, see for example www.beleven.org/verhaal/degrotvanplato. faculty.washington.edu/smcohen/320/cave.htm
Today we know from modern brain research that our thinking is controlled by neural networks or chains in our heads. Well, it is time to break down the chains that limit us and keep us in the cave. Break your chains and join us on an adventure into the new light that shines and the new sounds that can be heard outside our ancient caves of consciousness?
(Hogeschool voor de Kunsten Utrecht, Faculteit Kunst, Media & Technologie)
In the first fragment the chord is played in normal equal temperament, i.e. the normal tuning, with A4=440 Hz.
In the second fragment the same chord, this time played in the Crystal Music tuning of Jacques Groenen.
What is striking is the greater transparency of the sound and the greater depth in the second fragment, not only caused by the lower tuning, but because the individual tones in the chord (or cluster) find a clearer place and therefore appeal to our hearing and our brain more easily.
As a result of an accumulation of "coincidences" I ended up with people who still believe in miracles and... also in realizing our dreams. I have been invited for a trip to the dolphins led by the internationally known dolphin expert and guide Ocean Smets. A fantastic experience that I want to share with you.
My interest in dolphins arose in 1998 in a session with Dr. Mary Meadows (Cellular Theta Breath of Light - "The Dolphin Breath"). After this session she told me that I was surrounded by dolphins during the process and that I would be their ambassador among the people.
In one week in April I spent four to six hours a day in the sea with the dolphins for six days in a row in Egypt.
A coral reef where dolphins come to rest. Few threats a source of food. The reef was overwhelming beautiful and many, so many forms of life, so many colors and combinations were an experience in itself. Maybe just that decor, patterns were extra beautiful and visible.
My own attitude in the water was from the beginning one of meditation or prayer. At the time I was very busy with... green books from the "I AM" Foundation and I was very touched by the powerful Decrees, many of which I read daily used. Underwater with the dolphins they came to life! The dolphins have supported my intentions and strengthens, intentions of peace and clearing the ego, which can make way for the divine within us.
The dolphins have shown that we can turn this into a party, that we can have fun. They have me a lot show and have come very close to me and some new friends, within a millimeter of our skin. Of their enormous flexibility and agility ensured that they barely touched us. Even if we are with a group dolphins dived down a bit and they immediately frolicked back up, they never touched us.
During one of many moments of ecstatic joy, hundreds of dolphins passed silently and peacefully among us swim through. At the water surface there was a lot of playing and turning and diving with one of the usually four to seven dolphins who became our regular playmates, while large groups of dolphins appeared below us in the depths all peace and quiet, very quietly and slowly swimming beneath us. This was so powerful. I experienced it as a great musical experience Agreed, those groups of dolphins that showed us patterns, all lined up in different compositions and positions. You could almost say that there was a message in the patterns. It was as if they had a dome of silence and made peace around us, especially through the slow pace, sympathizing with our joyful and intense play upstairs. Af and then, when I got tired, I lay on my stomach on the water and witnessed that silent procession below us. Every now and then, like a flash of lightning, one or more dolphins would flash up from the bottom of the group, to accentuate the power of the silence, and sometimes they jumped above the water surface. were often there were groups of five to ten dolphins whirling around each other, extremely dynamic and fast. And they were constantly touching each other, with their fins and snouts and bodies, or turning with their bellies towards each other and made love, enjoying the physical contact. It was really wonderful to see them each other in the fins, one turning upside down and the other hugging, like that swim together for a while. Sometimes they swam fin to fin, hand in hand. I also have intercourse several times may see. The resident dolphins that played with us showed their bodies completely to us. We were able to record every part of the skin, every shade in the slate-like skin color, the fins and the tail. Then they would swim next to you or right in front of you and you had no choice but to, for example, study the tail in detail. Apparently that's where their radar and sonar senses are located. But what I liked best was when they turned around, in complete surrender to us, and we could admire that lovely white belly. You felt the palpable joy in the dolphins, especially at moments like this, you felt them deeply enjoy and laugh. At the beginning of the introduction Every now and then a dolphin would come very close and fixate one of its eyes on my own eyes. The dolphin watched and kept swimming, usually we ended up in a spiral and I had to do my best do to keep up with him in a very short turning circle, all the while keeping that eye on you, something looking from front to back. After a while he would switch positions to look with his other eye. Very fascinating. Once I saw the eye from the inside, as it were, so not the slightly dull one blue eye haze, but also the iris around the pupil, all fine aperture lines. Eva is even like that attached to the eye of a dolphin friend that they jumped out of the water together and then, in the open air, in the middle of this jump, she was able to look deep into the dolphin's eyes and... can fully perceive, with even more detail than I have seen myself.
On Thursday I started silently asking if they didn't really want to come and touch me. A little later I became first surprised by a dolphin that pressed itself against my left side. Immediately afterwards another one came across my right shoulder and we swam like that for a while, completely wedged in and surrounded by two dolphins. A little later a third person came swimming in front of us and allowed me to feel her completely, on her back, strong dorsal fin, sides and white belly that she turned towards me. Swimming among these dolphins it was like I was sent to watch the other dolphins. I felt the resonance, in fact, I saw him, in the patterns of the dolphins below me. Patterns of music and logic. Suddenly I was me completely aware of the connection between my feelings and what unfolded before my eyes.
For me this was the highlight of our adventure. I feel like my underwater brothers and sisters have me greetings, shook hands and welcomed me into their midst. I can hardly believe that anymore this meeting took place in that way. I have a memory of it like a dream and thanks the advice of Ocean, who advised us to keep a diary, I know it really happened.
I have had a special week. From my deeply moved heart I promised the dolphins in my mind to do everything in my power to convey the message of tenderness, love, harmony, freedom, dynamism, the unconditional playfulness and a highly inspiring joy wherever possible to my fellow human beings on the planet.
The New Tuning was discovered by Drs. Ing. Jacques Groenen. Jacques has established himself as a sociologist and innovator in search of the foundation of phenomena, intensively immersed in musical frequencies.
On February 22, 2007, Jaques had an inspiration: a new, ready-made formula for tuning music. Within an hour he wrote down the octaves and notes of the first part of the new musical tuning. The second part consists of multiplying the individual tone frequencies of the first part by the square root of 2 (n•√2). Together there are 2 x 12 = 24 notes. It would go too far to describe all the special properties of the new scale here. For example, the frequency numbers from a certain level add up to the number nine and there is a relationship with the enneagram, Pascal's triangle and the Solfeggio frequencies.
More information about the technology and underlying geometry can be obtained from Michiel Strategier and/or Jacques Groenen to lectures on all the backgrounds of the new Crystal Spiral Tuning will be brought into the spotlight.
On February 22, 2008 - exactly one year after Jaques' discovery - Michiel Strategier released the new music played on a piano that was tuned in the first part of the New Tuning. That's what he had first had tuning software designed to tune the exact frequencies of the crystal spiral on a piano. It immediately became apparent that the new sounds have an extraordinary influence on both musician and listener. Michiel's music is currently actively used at rebirthing meetings for children with autism, ADHD and for people with eating disorders, fatigue, etc. You can gain your own experience with the new, healing sounds by ordering the CDs via the online store.
The next step is now to work with two keyboards that are connected to the two series via specially designed software be voted. This offers the opportunity to conduct technical experimental research into musical collaboration of the two tone series and the timbres that can arise from this combination.
Ever since I met Jacques Groenen, I have the feeling that I am dealing with a special genius. I often found it difficult to understand him because his powers of abstraction are enormous. That ability is not always available to an average person easy to follow. As we worked together more, my appreciation and sympathy for him grew, especially because of his patience to state the obvious every time.
From the moment I asked him to tell me about the tuning A=432 Hz, it started flowing between us. I wanted then gave a concert in this tuning, together with the violinist Martine Nijenhuis, with whom I had a relationship at the time. improvisation duo (www.martinenijenhuis.nl). We would play in this mood and Jacques would talk about it. As is known, Jacques had a "brainwave" during the night of preparation for this lecture, which resulted in: a complete insight into how frequencies should be constructed in a scale of "cosmic" music. It is my job to actually tune and play these frequencies.
As a piano tuner, I had been used to working with the 'Verituner', software from Dave Carpenter, for quite some time. who has developed an unsurpassed technique to analyze a piano while tuning and based on the disharmony in the overtone series of each string to provide tuning advice for truly optimal harmonics result within the laws of equal temperament. This equal temperament is developed to allow a piano to harmonize acceptably in all conceivable keys (www.veritune.com).
I asked Dave Carpenter to write a program that measures the Frequencies of the Cosmic Crystal Spiral Jacques Groenen on my voting computer. Once I was able to create this tuning in the manner discussed, the old musical universe collapsed.
The first time I started playing in this tuning, a lot of things happened, as described in a letter to Jacques
on November 18, 2007, from which I provide a number of quotes below:
"Today I played in this (approximately) tuning for the first time.
The result is astonishing. At first I tried to play my regular stuff. Doing the old and familiar things is impossible. That doesn't make any sense and it doesn't work.
What works, and how! IS TO LET GO OF EVERYTHING AND LET YOU GO!
Don't hold on to old patterns, just start swimming in the ocean of sound..."
"I just want to say that I have seen very well how it goes if you just let everything flow and I think this too
that's how it goes with music, played in the Greens mood.
I'm really in the mood of letting it go, letting it happen, no control, no patterns, no musical desire and the result was a trance-like journey, which I am convinced is full of universal information and communication.
I can imagine being able to play a story like that for receptive people. The timbres evoked by this I think moods go very deep into the subconscious."
'I have now become enthusiastic, but again, mind you, it is no longer about the kind of music we create known to date'.
On March 3, 2008 I wrote the following:
"Been sick again almost the entire week. For a moment we thought I was always sick because of that damn tuning of yours, Jacques (hihi). Yet it may well be that working with these frequencies shakes things up within me and calls forth what lies dormant. I have also been quite depressed, a trait that is actually foreign to me. Last night I got out of bed again to watch "In Europa", by Geert Mak and 'De slag for Stalingrad'. Then I started playing. I can assure you that completely different music will come out of my hands has flowed. Unfortunately I was too tired to record it. Because of being sick because of that damn mood, I have a undergone a complete transformation. Cleaning, rearrangement it seems and I was able to play completely freely and uninhibited.
The wonderful thing was that I was able to completely capture the essence of that documentary. The pride of the Russian soul, the heroic, the tragically romantic side of it. It was fascinating to experience how it happened all by itself came out. I was moved and realized that I had never heard such beautiful music.
Anyway, there's a lot going on... I think this music can be offered to a large audience with great success".
Via via are the very first recordings that I played during the presentation of the vote to Jacques and Charles van Oosterum (Kharma - O.L.S. Audiotechnology http://www.kharma.com/general_info/general_info.php) ended up at a director of French radio and television. This person, Christan Hugonnet, was with us a week later sidewalk and wanted to hear me play. In France he was immediately convinced of the special effect of these frequencies because after a very tiring week he was suddenly refreshed by hearing a few simple sounds of this special tones. We are now in discussions about setting up some things in the context of the virtually defunct project listening attitude of the French public.
Because we 'coincidentally' are both working on 'The Knowledge Book', I met Lilian van Bennekom (www.hetkennisboek.nl).
Then it turned out that she had written her beautiful book with short stories and pencil drawings 'Vivioen and the Kingdom of Within'.
was going to publish, together with a CD with 24 narrated stories, I offered the stories of music
(www.lilianvanbennekom.nl). I accompanied 23 stories musically on the piano. This was the first
time that a recording was officially made in the "Green Vote".
I thought the piano music as solo improvisations were very successful and had the CD produced as such. This will soon be available via the website www.tuningthefuture.com.
The process of playing in this tuning is, as mentioned, quite drastic; different from what you normally do during
attempts at improvisation. Musical improvisations or composing music is something that mainly concerns
with memory. We all have a universe of images, impressions, smells and sounds in our subconscious
saved and if you happen to be busy making music, fortunately these images will come back and you can use them
reproduce. Actually you fall for cliché in cliché. The trick, of course, is to create these memory patterns in such a way
to rearrange it so that it produces something new.
So normally, during improvisations, I find myself in a musical image gallery that is familiar to me, what I love and I play with combination possibilities of these imaginations. Sometimes I find something new to be true I am delighted with, or what fascinates me, repeat that a few times and there you have it, a new cliché; presents itself.
As a musician I am mainly concerned with timbres. I actually feel more like a watercolorist then instrumentalist. I use my instrument (cello or piano) as a painting brush. That's exactly why I am I have been very busy with minimal music from the start. This means you end up very deeply into a certain color. I learned to explore colors in music.
Then Jacques' wonderful scale came out of the big hat for the first time. That took some getting used to. What you play from the old images is no longer completely correct. It doesn't fit, it sounds strange. Some parts You can still try the musical pattern from your memory, but it doesn't really go well. Here's one reversal of approach desired!
When I realized that, my music suddenly took wing. I didn't have to assume anything anymore. We were arrived in a new country. Everything after this border would be completely different, we didn't have to worry about anything. It didn't have to look like anything. We could let the sounds flow as they came. Form would take care of itself present. Total opening up was the decree here. Completely new landscapes could be explored.
Fortunately, almost immediately after the first discoveries in this mood, as mentioned, the opportunity arose to musically accompany Lilian's book 'Vivioen and the Kingdom of Within'. And with this the deeper secret was revealed himself. I have completely opened myself up to Lilian's goal. I was no longer concerned with myself at all. I played for her. I thus passed my own boundaries and especially my ego.
The new tuning will mainly work if we ignore ourselves. If we take inspiration from the depth of the universe. Everything is new. We know nothing of the world before us. Yet we can travel, but not alone. Moreover, it works well if we really want to discover it for each other and from unity.
It's very strange to notice again and again that when I have recorded something, I initially feel - after my complete surrender to inspiration - no memory at all of what I played. Then I hear it for it first time back and I think it's really ugly. Then I don't have to listen to it for a week and then I am slowly starting to open up to the beauty, which is really sparkling like a sparkler again a new firmament.
One final observation. The mood actually sounds even better if you let very small children play it. My grandsons Yunus (7 years old) and Deniz (1 year old) recently played this piano and I was completely amazed by it. the depth and richness of the sounds. Frequencies from the piano ran like shivers down my spine and it went very deep. Such wonderful sounds! So rich. So new! A listener with conditioned hearing might say it is false. I think it is universal and far-reaching.
I have sent several test recordings of this CD 'Vivioen's Gift' to friends and their reactions have been very encouraging.
Below is a selection:
I used your music on Friday for a group breathing session. The theme was forgiveness and it was very special. My joy for your music is limitless! I led the group and felt pure through your music, but most importantly supported as 'leader'.
'Vivioen's Gift' touched me deeply, I have no words for it, I don't want to break the silence; a tear shed
my cheek speaks volumes.
Va total discharge from someone, to enormous recognition from someone in particular
Anneke, who would really like to buy your CD including the book.
And from England, too beautiful to translate:
I find its joyous purity, truly irresistible and wish I could have more of these marvelous sounds/information.
Thank you for reaching so deep and so far inside yourself and for sharing that experience in such a beautiful form.
I look very much forward to receiving more of your music - the place it comes from is pure Light - Peace - Joy.
The new music was born in a flash. Early in the morning of February 22, 2007, at exactly 7 a.m., I received
an inspiration and as suddenly as unexpectedly there was the formula for a completely new musical tuning.
An hour later I had written out all the frequencies and I could start actually making them audible
the new musical notes.
It would not take until February 22, 2008, exactly one year later, before the new music was performed in a small group. was performed for the first time.
Vivioen's Gift - 01 Het begin
Music has always fascinated me, from Western classical music to rock'n roll, from Bach, Mozart, Beethoven,
Schubert and Chopin to Satie, Strawinsky, Shostakovitch, Ravel and Messiaen, from Robert Johnson and Bo Diddley
to Beatles and Stones, from Elvis Presley to Michael Jackson, from music from India, China and the Andes to New
Age meditation music, "brainwave" music by Jeffrey Thompson, music therapy by Jonathan Goldman and the
Solfeggio frequencies. I bought and listened to it all, first on many LPs, later on even more CDs.
For many years I was concerned with music in A = 432 Hz (Herz = number of vibrations per second), after I had previously read an article on the internet about the origins of the current musical tuning in A = 440 Hz at the beginning and end of World War II. This led me to start looking into it the foundation and beginning of any music: the musical mood, based on a single note and a (geometric) pattern through which all other notes can be derived from this one note.
As a sociologist, organizational consultant, trainer and innovator, I had become accustomed to not only the to detect the foundations of social phenomena, but also to change them. Creative destruction the economist Schumpeter called it and so it became destroying old and laying new foundations a common thread for completely new buildings (including myself as a spiritual-mental-biological building). in my existence. It is not without reason that the name of my company is Fun-da-Mental (www.Fun-da-Mental.nl).
Vemu Mukunda, the late music teacher from India and player of the veena, taught me how to play how Indian musicians literally capture human emotions and their physical locations in the human body play. He also taught me how everyone has their own personal key that you can track down with the help of listening to someone's voice using a tuner, making you yourself then you can vote and tune. It was the basis of my spiritual tuning and toning workshops, where I taught people how to tune their chakras using their voice, with the vocal vowels U,O,A,I,E and frequencies based on A432. In addition, I taught them, moreover, how this is all connected geometric design language.
Geometry is another common thread in my life. According to Pythagoras, architecture is solidified music and this is probably the reason that most modern architecture doesn't really fascinate me. It's too much for me noise and not enough music. When traveling I always visited the impressive buildings of ancient cultures and in the 1980s The Power of Limits by the Hungarian-American architect György Döczi opened my eyes for the golden ratio spiral as an architectural principle in antiquity and nature. Dinnergy Döczi calls the pattern-forming process of the unity of opposites which fitted wonderfully into the Yin-Yang thinking that was the basis of my spiritual quest at the time. Drunvalo Melchizedek brought me into the 1990s further and deeper on this path. The, including the Golden Ratio and Fibonacci numbers as were the basis of our music.
From 2000 onwards, this entire foundation was rigorously undermined by Ashayana Deane and the Keylontic people Science. I can't be grateful enough to her for that. Zze gave me back the key to it original paradise universe! There is another spiral, I learned, the Crystal spiral and the Vesica Pisces of the Golden Ratio is a bi-vectus (what is bi-vectus?) that you secrete and cuts off from the true Origin and the Trinity. The Kabbalah is a degeneration of the Kathara Grid and much more of this beauty.
No wonder I became increasingly annoyed by the Golden Ratio and Fibonacci guitar music that was played was brought to the workshops on many DVDs by the same Ashayana Deane. There had to be different music, crystal spiral music...
On February 22, 2007, I received a goddess gift and my musical jigsaw puzzle was completed in one go, completely consistent with a dream I had years earlier. Eureka!
That very evening I was going to give a lecture about music in A432 at Sauna Kastelenplein in Eindhoven. while music in this tuning was performed by piano tuner, pianist and cellist Michael Strategist and violinist Martine Nijenhuis, both from the Band of Wizzards. So I could tell my story straight away talk about the new musical tuning and make it heard. No one understood much about it, A432 was already new and now there was already another musical tuning...
Vivioen's Gift - 01 Het begin
It is easy to write down the frequencies of a new musical tuning; to perform them
and converting it into music is another story. It's like learning a new language with no one on
Earth still knows and/or speaks this language and therefore an adventure into the completely unknown.
Fortunately, there are frequency generators that can generate any frequency a person wants to hear, that is not yet music, but a pure sine wave. These pure frequencies made instantaneous impressed me and quite quickly the opportunity arose to do something useful with it towards real music. MAD was founded at the initiative of Eindhoven University of Technology, Fontys Hogescholen, Philips and others. Emergent Art Center, where art, science and technology connect. Artists and companies work together on creative innovation. There I met the Tilburg sound artist Olivier Nijs and it erases the frequencies of the first part of my 12-note tuning (the tuning has 24 notes in an octave) can be linked to the keys of a virtual piano via a software program. The first impression of what music in the new mood could be was now there. It tasted bad more, to real music.
Six months later this music was available and it immediately captivated audiences who could be counted on one hand stupidity and then to send them into ecstasy. It went like this.
Michael Strategier uses a tuning device, the verituner, to tune pianos. It worked him to convince Dave Carpenter, the American developer of this software, to buy a Friends price to provide the software with a new module for voting in the frequencies of the new tuning. Wow!
Vivioen's Gift - 01 Het begin
A few months later, Michael was able to start retuning his own piano and then
learning to play in the new frequencies. It was now the end of 2007 and I was looking forward to it
for the first time to hear and see "my" new music created by Michael's keyboard work. The premiere
was postponed each time due to Michael's illness and it is now clear that this can sometimes be done
may have had with the new frequencies, as most are hearing the new music for the first time
are immediately deeply affected by it. We talk about being on the same wavelength and good ones
vibrations. The new music vibrations bring everything into a different vibration and because vibration is the foundation
is all about us (and our brain waves!) entering a completely new vibration and a different consciousness
experiencing and listening to the new music.
Exactly one year after my musical dawn in 2007, on February 22, 2008, I heard for the first time Michael's intuitive note dance. It was so special that I immediately also part 2 of the vote on the Verituner wanted. In April 2008, my now purchased piano was tuned according to it frequency chart of part 2. I could start my self-training in playing the piano. Michael played In the meantime, an inspired CD full of new music sounds as background music in the music studio on the CD with stories in the book Vivioen and the Empire Within by Lilian van Bennekom. Then went he went to Turkey to meet the author of the Knowledge Book and he promptly told him that the new music is not of this world but of a much higher level of consciousness. The new era is coming, we are Tuning The Future!
Vivioen's Gift - 01 Het begin
We are now more than a year further. Michael's piano is in Heiloo and mine in Nuenen,
almost 200 km apart. Attempts to have two pianos tuned in both parts of the new tuning
in one room at the Utrecht University of Applied Sciences in Amersfoort and music therapy students have the opportunity
offers to graduate have so far come to nothing. Building a new synthesizer with
two keyboards has been initiated, but progress is slow due to costs.
No one has been able to hear the complete new music yet. Well, I tried, apart from my attempts to combine the sounds of my piano, tuned in part 2 of the tuning, with the music on CD of Michael's piano in part 1, resulting in fantastic resonance fields. To the arrival of the new music, we decided to go out into the wide world and ask for help with it creation process, building and tuning new instruments and learning to express and understand ourselves the new musical language. At the beginning of September 2009, www.tuningthefuture.com will be available on the Internet. On that website and there we offer, among other things, a CD with the title "Vivioen's Gift" and individual songs in part 1 of the vote for sale. The complete source code and architecture of the vote, a PDF about the underlying spiritual-scientific basis of mood and a PDF about the 18 Solfeggio frequencies (currently being put on the Verituner by Dave Carpenter), will also be available. I have namely discovered that there are not 6 or 9 as is usually claimed, but 18 and that there is a close relationship with the Enneagram.
Michael and I invite everyone to a new and transformative musical adventure! Via the Tuning The Future Group on Skype and tuningthefuture.com you can join us. Welcome!
The music I make in the special frequency assignments of the Kristallah tuning is something that is still there is difficult to describe. Someone put it this way: "My ears just hear music, but my body says something else; There are all kinds of things happening in my body, it triggers all kinds of things."
Through my contact with Mrs. Bülent, the one who revealed the Knowledge Book, I understand that the frequencies of my music, because they come from such a very high dimension as unfiltered information, can also touch people who come from those levels of development, but cannot settle here.
I myself also had quite a lot of difficulty adapting to earthly 3D life and consciousness. I felt here not at home. My luck was that as a child I lived in Utrecht opposite the Observatory "Bastion de Sonnenborgh", on the Lucas Bolwerk, at Maliesingel no. 60.
This gave me such enormous joy and sense of security. I just knew that earthly life wasn't all that there was still a whole space in the cosmos where we could go with our imagination, where we were safe, at home.
Well, this function of fantasies that the observatory in Utrecht gave me, which grounded me in a certain way, can also have my music for all those who are from deep space and maybe future to our planet have come to help us with our evolution, with our "resurrection", but who must also develop in God consciousness before being able to continue.
They may be shocked to death to encounter an almost exclusively ego-oriented, primitive social order. From their subconscious they will feel a resistance to the unconscious, almost childlike life in our society, on Planet Earth.
I have the strong impression that the sounds of my music, in combination with this unique, all known musical and geometric law defying scale structure, enormous healing, evoking deep memories and itself can have recognizing effects on those who suffer such as autistics, young people with anorexia or ADHD, young people who drop out.
Adults also feel particularly supported by these sounds and can experience deep and transcendent ones experiences go. In the future I see us giving workshops, lectures, training, all embedded in this new sound world.
We are only at the beginning. Funds from sponsors and the proceeds from the sale of CDs, will allow us to make investments that lead to laboratory research, the construction of a synthesizer and later concerts with the two parts of the Crystal Spiral united in one instrument.
In the world of sound perception, the Mozart effect, Tomatis effect and the results of music therapy, biofeedback (e.g. heart rate variability, skin resistance, breathing) and neurofeedback (brain waves) are known. See: www.fun-da-mental.nl
All these methods use influence by sound and/or consciously influence signals – all of which are shaped like waves – that our body emits.
An important aspect is the brain waves. These are traditionally divided into a number of categories:
(1) Beta waves (13 to 39 Hz) predominate when eyes are open with our attention focused on the outside world
(2) Alpha waves (8 to 12 Hz) are created by a combination of inner (imagination) and outer stimuli
(3) Theta waves (4 to 7 Hz) occur with closed eyes and inner focus
(4) Delta waves (0.5 to 4 Hz) occur during sleep, where we are usually unaware of physical reality
As a result of modern research, a number of new brain waves can now be added:
(5) Gamma, a harmonizing, synthesizing frequency from 40 Hz
Musician and brain researcher Jeffrey Thompson of the Center for Neuroacoustic Research in California adds:
(6) Epsilon waves, yogis in very deep meditation, below 0.5 Hz
(7) Hyper Gamma (from 100 Hz) and
(8) Lambda brain waves (from 200 Hz), extraordinary states of consciousness that we find in the highest stages of meditation, deep insight, original creative solutions, etc.
It is remarkable that no one has come up with the idea of viewing brain waves as a musical spectrum with different octaves. That is what happened with the Kristal Music Tuning and one of the reasons why this music has so much impact.