Trombone and the Art of Energy Work Pt.1

My first real lessons in energy work came from band class. Some of it was technical, in the case of music theory, and some of it was experiential, in the act of supporting and playing the notes. I played the trombone.

People like to talk about frequency, vibration and wavelength when it comes to magical energies. I’m not always sure that they have a firm grasp on what these subjects mean. Why is a high frequency always preferable to a low one? High frequencies sometimes hurt my ears, and low frequencies can have enough power to rattle my windows. They’re not good or bad. Music sounds better when there’s a balanced mix.

Sound waves that are orderly tend to sound better than those that are chaotic. The dissonant background music for the original Star Trek series was intended to increase the dramatic tension, but I sure wouldn’t want to listen to it by itself. It’s an acquired taste that I don’t really want to acquire. Harmonic frequencies enhance each other’s patterns. Dissonant ones disrupt the information and introduce chaos. There’s also that odd case where two perfectly tuned, but opposite sounds can effectively cancel each other out, resulting in silence. This is how noise cancelling headphones work. They sense the incoming noise and create the opposing sound. You could also have fun with resonant frequencies, opera singers, and wine glasses. For an added bonus, look up chladni plates on the web!

In short, some energies harmonize well together, and some energies clash. A person is more likely to work with a deity whose energy is harmonious with their own. A pantheon is a collection of deities whose energies have been tuned as a set. That doesn’t mean that deities from other pantheons can’t work together, you can still find harmonies across pantheons. I’m just saying that the chances for harmonic combinations increases among those who have worked together longer. They’re sort of playing in the same musical key.

Some people, like my Dad, have amazing pitch. They can immediately tell what is in tune and what isn’t, and they can even name the notes they hear. Other people, like my Mom, can appreciate the effects of music, but are completely lost when it comes to finding the right pitch. My father studied music at University of Indiana. My mother couldn’t even sing lullabies to her children without having us ask her to please stop. My father played the tuba. My mother played the glockenspiel (think of a smaller marching version of the xylophone) where tuning wasn’t an issue.

What I’m saying is that not everyone has the talent for fine tuning energetic frequencies on the fly. That doesn’t mean that they have to give up, just that they need help getting the notes right. I believe that’s what all those tables of magical correspondences are for. Some people have the natural instinct, and some have to do things the hard and technical way. Even if you do have the instinct, it doesn’t hurt to round out your education by learning the technical side because it can refine your skill and teach you something you hadn’t already thought of. Just don’t get so bogged down in technicality that you forget how to sing.

I will discuss the art of going BWWWAAAAAAAAAA in the next section.

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One thought on “Trombone and the Art of Energy Work Pt.1

  1. cicadinae says:

    This was a great explanation of this concept. Also, yay trombones! 😀

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