Healing Sounds - The Sound of Healing

Interviewed by Rick Martin

Part One

Rick Martin: There may be some confusion in the minds of our readers about the subject of sound healing. I’ve been asked, “What do you do?” Do you just sit there and listen? Do you have to focus on something specific? Do you have to meditate? Do you have to close your eyes? How does it work? How do you use this? What are the “technical steps” that the person experiencing sound healing must be aware of?

Jonathan Goldman: I think before we begin to explore the arena of “What I do”, it’s first necessary to have an understanding of “What sound does”, i.e., the basic principles of using sound as a healing and frequency shifting modality.

The basic principle of sound healing begins with the understanding that everything in the universe is in a state of vibration, from the chair you may be sitting in to the pages of this newspaper. The ancients understood this and now, of course, scientists are validating this. Everything is in a state of vibration, from electrons moving around the nucleus of an atom, to planets moving around stars in distant galaxies. And if it’s in a state of vibration, it’s creating sound. Now, this vibrational essence of the universe includes of course, the parts of the human body. Every organ, bone, tissue, etc. is in a state of vibration and therefore putting out a frequency. When we are in a state of health, we call this “sound” health. Everything is vibrating at its natural healthy “resonant” frequency. But what happens if some part of the body begins to vibrate at another frequency. It begins to vibrate out of harmony with the body, out of balance with itself. This is what we call “disease”.

Sound, incidentally, is a waveform. One way of measuring this waveform is how many vibrations, or waves, the sound is creating per second. This is called its frequency. Very low sounds travel very slowly. Very high sounds travel quickly. The lowest note on a piano is about 40 cycles per second (also called hertz). The highest note on a piano is about 4000 cycles per second. Now, we hear from about 16 hz. to around 16,000 hz. (more when you’re younger). I would like you and your readers to contemplate that sound, however, is much more than what falls within the audible spectrum.

Dolphins, for example, can receive and project information (actually being able to project holographic thoughtforms on their sonics) at around 180,000 hz. This is more than 10 times the level that we human can even hear. However, while we might not perceive these dolphin frequencies as sound, I’m sure our friends in the ocean certainly do. So, it’s really important to think of all vibrations as being sound—not merely those that fall within the audible bandwidth of human’s hearing.

Getting back to the idea of healing with sound—think of the body as this incredible orchestra that is playing this wonderful “Symphony of the Self”. When we are in a state of “Sound Health”, all our sonics are working together in perfect harmony and we are this wonderful orchestra creating an overall harmonic of health. But what happens if the 2^nd violin player looses their sheet music. Pretty soon the string section sounds off. Soon after, the entire orchestra will begin to sound poorly. This is a metaphor for what we call disease.

I come from a family of doctors—my grandfather, father and brother all MD’s. And I have the greatest respect for allopathic medicine for treatment of certain conditions. However, traditional medicine at this point in its development, has the approach when dealing with the string player of our orchestra who has lost the sheet music, of either giving this player enough drugs so they simply pass out, or cutting their head off with a broadsword, so they no longer play the wrong notes. Now, while this certainly alleviates the problem, you do have a bit of a void created by the absence of the missing violin player. What if you could somehow give this player back their music? What if you could somehow project the correct resonant frequencies to that part of the body, which was vibrating out of harmony, out of tune? This would conceptually create a curative response. This is one of the basic principles of using sound for healing.

Now, I’ve been in this field for over 20 years, and I spent about 10 of those years chasing after the “magic frequencies”—the ones that seem to promote healing or create transformational experiences. And it’s interesting—when I spent those first 10 years collecting frequencies, I noticed something very unusual. There would be people claiming extraordinary effects and successes from the frequencies they were using. And personally, I believed their research and reports. But what was most unusual is that none of the frequencies matched. You’d have different scientists and researchers using different frequencies and some of them would be healing the same imbalance. With different sounds. It all became very confusing to me.

How, I wondered, could it be possible that different frequencies would heal the same ailments?

The same thing would be true with mantra chanting—where one guru would have his disciples chant a particular mantra for say the “crown” chakra and another guru have his disciples chant the same mantra for the “heart” chakra. And the devotees would have the resonance and effect in that chakra. What was going on? Same sounds affecting different areas? Different sounds affecting the same area? It didn’t make sense.

Then in meditation about 10 year ago, I received the guidance that there was another aspect of the phenomenon of sound healing and it was this: intent. Intent is the energy behind the sound. As my friend Steven Halpern says “Sound is a carrier wave of consciousness” and the intent is the consciousness of energy of the sound.

So, I created a formula, which I still think is one of the more important things I’ve brought down to the planet. It was first described in my book, HEALING SOUNDS. The formula is this: FREQUENCY + INTENT = HEALING. This means that the energy behind the sound being created is as important as the actual sound.

In other words, you could make one sound and put in two different intentions and you would have two different effects.   Or you could have two different sounds with a very similar intention and you might be a very similar effect. Now, I have observed this over and over again since that time and I think it’s really quite important. Particularly with regard to music and with the use of the human voice. Intent or Intention or Intentionality—what ever you want to call it, seems to really be making itself known in the subtle energy medicine field, where they are practically demonstrating the importance of intent.

It’s my belief that this formula FREQUENCY + INTENT = HEALING, is at this point in our development, a formula, with all parts being of equal importance.   I say this, because I believe as we continue our acceleration of consciousness and evolution into what may be called higher dimensionalities, the importance of INTENT will grow and grow, while the importance of the actual frequency will become less and less important. From, say a 5^th dimensional viewpoint, we may find that INTENT is 80 or 90 percent and FREQUENCY is 10 or 20 percent. As some mystics have said: “All is consciousness”. And therefore, INTENT is a major aspect of consciousness. So the more we evolve, the more our consciousness interacting with the sound will be the determining factor for the effects of the sound.

However, for those of us still operating on a 3^rd dimensional consciousness, (and in truth, almost everyone I know still has resonance there), it’s really important to pay attention to the frequency of the sound. To begin to understand the “psycho-acoustic” effects of the sound—that is the effect of sound upon the mind/body.

My intent might be to calm you down, but if I come up to you and shout in your ear, the odds are that on a purely physiological basis, the loud shout will cause you to react in a negative and possibly even violent manner. The sound would cause the fight or flight release in your body—your heart beat, respiration and brainwaves would speed up, your nervous system would tense up. You’d definitely pull away from the sound, and probably push me away at the same time. Now, because of the psycho-acoustic effect of the situation, this is a natural response to loud sounds—the fight or flight response. And I think that in most cases, regardless of my intent, you would have the same reaction. So it’s very important for us to become aware of the psycho-acoustic effects of a sound, as well as the intentions that we want to put on the sound.

I believe there are probably saints and other extraordinary beings on this planet who can probably belch or make any sound and create any response that they want. But I think for most of us, until we can levitate, walk through walls, that sort of thing, it’s important to pay attention to the frequency—to the actual sound being created. I believe that we’re going to find the aspect of intent to be of great significance as our consciousness continues to expand and evolve.

I remember several years ago, a friend of mine who is a well know medical doctor did an experiment with a well known scientific researcher. Putting it simply, the doctor put his hands over petri dishes with bacteria in it. Over one dish he projected the thought “grow”. Over the second dish he projected the thought “stay the same” and over the third dish he thought “shrink”. And that’s exactly what occurred. Now, the frequency, which was the energy from his hands, whether you want to call it Reiki or therapeutic touch or whatever, was basically the same. It was his intent that differed. And he was able with his intent to affect the outcome of the experiment.

I think this is just one example of the power of our thoughts—our consciousness. And we are going to see more and more people becoming aware of this. How we basically co-create reality. It’s an exciting concept and one which may change the very way that we interface with the world.

With all this said, I would like to suggest that the importance of frequency in terms of influence and effect on 3^rd dimensional reality can not be overstated. It is extremely important. We live on the physical plane and this plane is certainly influenced by specific resonant frequencies. There’s no doubt about that.

Many years ago, this wonderful Swiss doctor named Dr. Hans Jenny did these experiments, which he called “Cymatics” which is Greek for waveform (since sound travels as a wave). He took plastics, pastes, liquids, etc. and put them on a metal plate that he resonated with sound. These different substances would vibrate with the sound and create the most extraordinary shapes. Sometimes these inorganic substances would look like underwater lifeforms, or some microscopic organism. It’s quite extraordinary and makes you understand about the power of “The Word” that the ancients always talk about—that original creative sound. Now, Jenny found that even slight variances in the frequencies that he was using would create differences in the shapes and forms and these substances. The actual frequencies are very important.

The more precise and exact these frequencies are, the more precise and exact their effect will be. The statement about every organ, bone, tissue, etc. being in a state of resonance is correct. And the idea of disease being an out of tunement of these parts is also correct. The question remains about how to find the exact resonance of an out of tune part of the body.

Another question is whether this part of the body is resonating to one frequency or a series of frequencies. I know some scientists who are working with a composite of three different frequencies to effect a certain part of the body, or to effect an imbalance. I know of another scientist who utilizes five different frequencies to create this same effect.

What’s very interesting about these composite frequencies, is that they are not very musical at all. In fact, when you listen to them, they’re kind of harsh sounding and really unpleasant. That is because they are frequencies meant to be encoded into the body and not necessarily listened to with our ears. There’s a big difference.

So this idea of using resonant frequencies for healing is very real and very true. And from a truly 3^rd dimensional approach, these frequencies must be really exact. And if you think of the extraordinary bandwidth of just the audible frequencies, you’ll see how difficult this could be. I know of one doctor, who was working with sound to reduce pain and he claimed to have found the right frequency that would do this. But it had to be accurate to a 1/10^th of a cycle per second in order to work. That’s pretty precise. And it came about through trial and error, which is certainly one way of determining frequency response. There are other ways too—you can use pendulums, kinesiology, psycho-tronic devices, scientific devices, pure observation or what not. You can use yourself or someone else as a guinea pig and then keep trying with different frequencies until you come up with the one that works for the situation you’re dealing with. And of course, you hope then, that your resonance matches everyone else so you can effectively use what you’ve discovered on someone else.

So you can see, it’s very complicated. I had at one time hoped that everyone who was doing this type of work would effectively pool their information. You find the frequencies of Dr. X and then you compare them with those of Dr. Y and Dr. Z and maybe you won’t have to reinvent the wheel and you’ve got something that really works. But I don’t think that will happen. At least, not right now.

Rick Martin: Why not?

Jonathan Goldman: I remember about 15 years ago when I was at a MusicMedicine Conference and I met a doctor from another country who was working on this chair that projected sound into the body. I think he was using it for treatment of arthritis or something.   I knew a lot about sound at that point and I knew a lot about other people’s work with frequencies as well. I asked him what frequencies he was using and he became very silent. “I can not tell you” he replied. “There is too much money in it for the person who discovers the correct frequency”. I imagine that attitude is pretty prevalent in certain of the communities that are working with sound and trying to discover the “magical frequency”. The effects of greed are pretty interesting, but I’ll discuss that later. I’ll also discuss some aspects of the potential healing that can be created through sound later. But for right now, I’d just like to say that from my perspective, extraordinary healing can result from sounds that are not particularly precise if the person using the sound is able to operate from a higher dimensional level. The more one is able to encode intention onto the sound, the more effective I think the sound will be. Particularly if you are anywhere in the ballpark near where the natural resonance of what is needed is occurring.

Spirit gives us a lot of grace, especially when you’re working with sacred sound. But most people, particularly scientists who are researching frequencies don’t know this, and won’t accept it. It goes outside their realm of belief. So it doesn’t occur. And they’re still searching for the “magical frequency” and maybe, just maybe they wouldn’t have to look so hard, if they could try to view things from a higher level of consciousness.

Rick Martin: Would you discuss the role of music and harmonics in stress reduction?

Jonathan Goldman: This brings us to the topic of psycho-acoustic—the effects of sound and music upon the body and the brain. It also brings us to another topic, which is the uniqueness of the individual. Both of these topics interface with the concept of music and harmonics for stress reduction.

I’d first like to create a very simple delineation between sound and music. This is just a definition I’m using and not necessarily how other people define them. I like to think of sound as being basically single tones (with their associated harmonics), that don’t really change much with the elements that are defined as musical—that is rhythm, harmony, melody, etc. For example, a chant that is on one note, perhaps a long extended “Om” would be considered a sound. But if you add the other elements like rhythm, harmony or melody, and your “Om” changed pitch so it became a melody—a song—well then it would become music.

I’ve came up with this delineation simply because with many of the recordings that I’ve created, I define them as sounds so that people won’t listen to them with the expectation of walking away humming a melody. My recording “DOLPHIN DREAMS” is a good example of this. It was initially created for the birth experience. “DOLPHIN DREAMS” consists of ocean sounds, heart beat, choral voices and dolphins sounds all layered and textured together. I call it a “sonic environment” because it creates a field of sound attempting to emulate the energy inherent in a dolphin assisted water birth. It’s beautiful to listen to and sooths practically every person who listens to it. But I would not necessarily call it music. “DOLPHIN DREAMS” has become one of the more popular recordings for the birthing process as well as for use with newborns, infants and children. It is also used extensively for the reduction of stress and is one of the most relaxing recordings I know of.

Interestingly enough, recently two college professors wrote a college textbook on listening and included a chapter on “DOLPHIN DREAMS”. Because the way the sonics are constructed, it really stimulates the ear and brain with many different sounds and is quite a listening experience. But the authors of this textbook suggest to the reader that the recording does not fit into the category of music as people normally perceive of music. I agree.

This would be why listening to fast music might at first seem soothing to someone who is stressed. Because the music is matching their nervous system.   Listening to slow music might at first make them feel even more stressed. Because there’s such a contradiction in terms of vibrational rates. I think that gradually going from fast to slow music would be the ideal key in this type of situation.

I need to say at this point, that it’s my belief that we are all unique, vibratory beings and that what works sonically for one person may not work for another. We all know that not everyone likes the same sort of music. In the same way, not everyone responds to the same type of music the same way. I guess if we did, it would be a very boring world. In terms of using music for stress reduction and relaxation, it’s important for us to honor our personal responses to music. Just because someone says that listening to Mozart or Bach is the best for this or that situation, does not mean it’s true for you. We need to be able to create a kind of “sonic Rx” for ourselves and realize what types of music we like to use for certain situations. And then begin to use that music for those situations.

Maybe listening to a sad love song is the thing that can bring you out of a mild depression. Or maybe it’s listening to Gershwin or the Beatles or Beethoven. Whatever. We need to begin paying attention to how different pieces of music affect us on a physical, emotional, mental and spiritual level. And then begin using different music to help put us in balance.

Now, I don’t really know why different music seems to affect us so differently. There are so many possible variables in regard to this and once again, I think it brings us to the question of our uniqueness and individual response to various things. I think sometimes it’s experiential (where were we when we heard a certain song?), sometimes it’s taste (what music do you really like? What do you dislike?) and there are probably dozens of different variants in terms of this. Sometimes it’s educational (if you never heard Balinese music, you might find it very discordant the first time. After a while, it might grow on you). Sometimes it’s another factor. But it’s important to understand our resonance with different music and utilize this in our daily lives.

For example, if you want to find music that is going to stimulate you, perhaps to enhance an exercise program—well you’re going to want to use something that’s up beat and pretty fast. Listening to slow music would actually be contrary to the response your nervous system wants. Such slow music would probably cause you to be less effective in whatever chore or exercise you were doing. However, if you wanted to rest and perhaps enhance sleep, then slow music would be a good choice. Trying to sleep while fast music is influencing your nervous system and body would be difficult. But once again, there are so many parameters involving the influences and effects of music that you really need to understand specifically how particular pieces of music effect you.

I’d like to turn back to a topic I briefly discussed a little while ago—brain waves. In particular, I would like to talk about this in regard to an idea that is primary to many of the visionaries of modern times—that our vibrational rates are accelerating.   I agree with this concept, and in fact, my book SHIFTING FREQUENCIES deals with ways in which sound, light, sacred geometry and other vibrational modalities may be utilized to deal with these frequency changes. SHIFTING FREQUENCIES focuses upon some fairly esoteric subjects, from the use of harmonics as a tool for multi-dimensional activation to crystal singing—how to resonate and project sonic energy through quartz crystals. It has important information that many people have found extremely useful for assisting their evolutionary development.

It’s been suggested that our vibrational rates are speeding up and that indeed, time itself is speeding up. I think this is true. Most of us have experienced the phenomenon of getting up in the morning, having a cup of tea, making a few phone calls or whatever and suddenly realizing it’s time for bed. Time definitely seems to be compressing and as this happens, we become more and more stressed out by our inability to accomplish the things we normally have been able to do.

A short while ago, I mentioned “Delta” brainwaves. These are from .5 to 4 hz.   When I first began researching brainwaves, Delta brainwaves were described as being found in comatose patients. People who were unconscious. But within the last decade, this has changed.

I had a friend, a medical doctor, who was a pioneer in the field of mapping brain wave activity. He began testing healers, psychics, channels, and shaman and found that many of them were registering brain waves of 1 cycle per second and were able to talk and communicate while they did their work. If they were working on a client, it turns out that the brain waves of the client would also be resonating at about l cycle per second. It was very interesting.

What was even more interesting was that this doctor found brain wave activity of 128 cycles per second that was occuring at that spot on the cranium that we call the “crown chakra”. Now, these were brain waves that had never been measured before. My friend passed away before he was able to make this information known to many of his colleagues, but it was fascinating. It seemed to indicate that in order to register these high frequency rates; an individual had to be at a very slow rate of brain wave activity.

When I began meditating on the significance of this, it came to me that in order to encode higher frequencies of light and love into our brain, body and associated energy fields, it was necessary to slow down our vibrational rate. In other words, we had to be in a deep state of calm and relaxation in order to effectively shift our frequencies.

This makes sense. If you are operating in a state of beta, it’s very difficult to be calm and relaxed. The nervous system is operating at a fast rate and our consciousness seems to be locked into the here and now. When you’re in beta, it’s hard to meditate. It’s hard to experience expanded consciousness. We’re too focused on the physical plane and with doing some activity which makes it very difficult for frequency shifting.

When one has slowed down the nervous system and is in a deep state of calm, I believe that what happens would be the equivalent of going off a diving board and springing upward. That 128 hz. that my medical friend was able to measure is actually a harmonic, or geometric multiple of 1 hertz. By slowing down the brain, we are actually able to raise our frequency rate. It seems to be a paradox—that in order to speed up our vibrational rate, we must first slow down—but I believe it is true.

This initial slowing down of our vibrational rate—in particular, the frequencies of our brain and nervous system—is not easy to do. In fact, it’s very difficult. But I know that when I’m in a calm and relaxed state, it is often much easier to deal with many different stimuli simultaneously occurring, from the phone ringing and answering email and someone talking to me all at the same time than when I am nervous and stressed out.   However, being able to be in a calm and relaxed state while all this activity is occurring is a challenge.

Rick Martin: Can sound help us achieve this relaxed state?

Jonathan Goldman: Most certainly. Sound and of course, breathing. Slow, deep breathing helps reduce heart rate and brain wave activity. I find that by sounding a single note or a mantra such as “Om”, it automatically creates a state of calm and relaxation. One of the reasons for this of course is that breath is the basis of creating sound. So that if one begins sounding a tone or a mantra for a while, you are automatically slowing your respiration. You are also doing a number of other things to yourself, including helping release endorphins and other neuro chemicals that may be very beneficial and healing.

This sounding of a single tone or note is called “toning”. More and more people are becoming aware of the importance of this activity.   You can simply use toning to help relieve stress in yourself. You can also use it to help resonate and align an imbalanced part of your body or energy field.

I teach a very powerful exercise called “Vowels As Mantras”, which was initially described in HEALING SOUNDS and is also available on the accompanying instructional cassette. In this exercise, we utilize the vowel sounds in a particular order in conjunction with pitch, to resonate the “chakras”. Normally, in a workshop, we do this for about a half hour or more and it is both a powerful healing experience and a powerful transformational experience.

Towards the end of the exercise, after we’ve resonated all 7 of the main chakras, we remain silent for about 5 or 10 minutes. This silence is crucially important in allowing a person to receive an experience that is of the greatest benefit for their spirit and soul.   During this time, those in the workshop will frequently have extraordinary communications with guides, angels or other divine beings.

I believe one of the reasons this occurs is that we have slowed down our nervous system and balanced our energy fields and can shift our frequencies because of this. We are in this deep state of receptivity and thus can allow higher octaves of light and love to encode themselves upon ourselves.

Frequent meditators will tell me that the experience usually surpasses any that they have had before. This may have to do with the fact that we are using sound in conjunction with breath and visualization and it is simply more powerful and transformational.   The sound will resonate the chakras as well as the nervous system and the brain. It is a physical based phenomenon that because of the harmonic inherent in sound, also resonates etherically as well.

Most of us find it difficult to devote a half an hour a day to a sonic practice. It should be mandatory, but it’s not. So, I also teach my students how to tone the chakras with vowel sounds for a minute or five minutes and achieve some beneficial results. Even a minute or so of sounding will help shift our consciousness and allow us to access states of calm and relaxation. It may not have the profound effects of a half hour of toning, but it’s still quite good.

Rick Martin: You’ve mentioned harmonics a number of times—can you tell us what harmonics are?

Jonathan Goldman: Whenever a sound is created, that sound is really a complex composite of frequencies called harmonics. These harmonics, which are geometric multiples of a given fundamental, are actually present all the time in different sounds. We are simply unaware of them. With harmonics, the first overtone (harmonics and overtones can be used interchangeably) vibrates at twice the frequency of the fundamental tone. The next overtone vibrates three times as fast as the fundamental. The next overtones vibrates four times as fast and so on.

Just as you can take a prism, hold it up to sunlight and refract the different colors of the rainbow—well, harmonics are really the color of sound. They actually create the timbre or tone color of an instrument or our voices. And we can learn to refract some of these colors of sound ourselves, simply by learning to use our voice in a particular manner.

I first came across this nearly 20 years ago when I heard the sacred chanting of Tibetan Monks and the Hoomi or throat singing of Mongolia and Tuva. It was extraordinary and out of this world. These people can sing two or three notes at the same time. Shortly after I heard these sounds, I studied with some teachers who were able to teach me some techniques for creating these vocal harmonics. Now, of course, I have written HEALING SOUNDS: THE POWER OF HARMONICS, and teach these techniques to students myself. There is, in fact, a reemergence of interest in vocal harmonics. I think that’s fabulous.

I must say, for those already familiar with Tibetan “Deep Voice” or Hoomi throat singing, that what I teach is different. People can indeed create two or more notes at the same time. But it doesn’t require some of the training and potential strain that accompanies the Tibetan or Hoomi voice. And my teaching of vocal harmonics also works with the therapeutic and transformational use of these sounds. It’s not just a party game or something to impress someone, but a deeply powerful frequency shifting tool.

Rick Martin: But you’ve been taught how to do the Tibetan and Hoomi Voice?

Jonathan Goldman: Actually, with the Tibetan “Deep Voice”, I received this voice in “dreamtime”. In 1986, it was my honor to record the Gyume Tibetan Monks in a modern recording studio. It was a wonderful event. I took the tape of the recording home and listened to it in my crystal meditation room. When I woke up the next morning, I had the Tibetan “Deep Voice”—I could create their extraordinary multi-phonic sound. It was quite amazing. It’s said to take the Monks up to 10 years to receive this voice. What happened to me is an example of what I call “harmonic transmission”—receiving information or a transformative experience through sound.

I did take a lesson in order to learn the Tuvan Hoomi style, but personally found it rather taxing on the vocal chords. I can do this style, but only do so for demonstration purposes.    I decided that this was not going to be a technique that I would share when I teach because of the potential dangers inherent in it. I don’t want anyone straining their voice due to something I’ve taught. So, the vocal harmonic techniques I share are quite safe and simple—many of them are based upon working with vowel sounds—and almost everyone who studies with me is able to hear and then create vocal harmonics.

These harmonics can be utilized for many extraordinary things. You can use them, along with their associated vowels, to resonate the chakras. You can also use them to resonate different portions of the brain. Through learning to first hear and then create vocal harmonics, you can also improve the quality of your own voice as well as enhance your ability to hear. This makes sense. With the regard to the five sense, it’s almost as though we’re wearing sonic ear plugs and then through working with harmonics, we remove these earplugs and truly experience a higher aspect of the sound spectrum. One of our senses becomes expanded and because of this, our consciousness as well is expanded.

I’ve even helped rediscover a very ancient technique which I call “overtoning”, in which you project a siren like vocal sound to someone else. At a particular point in the siren, a specific harmonic will occur which is the “healing” sound needed to put in balance something that’s out of alignment in the other person. It’s quite powerful and quite extraordinary.

What’s very interesting in regard to the Tibetan “Deep Voice”, which I do utilize for sacred chanting, is that frequently in a workshop someone will receive the voice simply by being around me. It will be nothing I have actually taught. And it’s not always a man who receives this voice. Sometimes it will be a woman. I remember once when a little old lady came to the second day of the workshop. “Jonathan”, she said. I look at her and smiled. Then she opened her mouth and out came the Tibetan Voice. It was amazing. In the Tibetan belief system, the “Deep Voice” is a gift from the Divine. I can believe it.

The more I am involved with the use of sound and music as therapeutic and transformational tools—the more experiences I have with the extraordinary abilities of sounds to create shifts and changes—the less and less I am able to put these experiences, these frequencies shifts, into a container that fits into any scientific mold. It’s quite amazing.

I started out very left brained, I think as a result of the medical practitioners in my family lineage. I was very much into collecting frequencies and creating systems. In fact, back in 1988, I wrote a book called AWAKENING THE LOST CHORD for Ballantine. It was essentially nothing more than an encyclopedia of sound healing, with chapter devoted to everything from harmonics and mantras and frequencies to sonic shamanism. Quite an overview of the field. And I must admit that twelve years later, there’s not that much new in the field. Oh, people have made advances in areas, whether it’s the use of sound to resonate specific portions of the body or the use of frequencies to increase plant growth. But, these are only minor advances—at least to my knowledge. The basic work and research, I guess, was already in progress, though of course, many of the people doing this work don’t know this. So when they come upon an idea or a discovery, they think it’s brand new.

Probably, of course, much of this work has been going on for eons and we’re just reawakening to some of the knowledge and ideas that the ancients worked with. But anyway, I really did my homework a while ago in terms of researching the effects of sound and music, in terms of what other people had done.

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