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Excerpt 51

From a post to an Enochian e-list May 8th 2004


>I don't believe in any "true" correspondence system, be it with
>colors, sounds, numbers, or whatever.

I've yet to see any modern system of correspondences that is completely perfect or useful to all practitioners. It's probably best to develop personal systems that work well for the individual for creating predictable and repeatable results.

>Look at the various versions of
>the tree of life for example. If you happen to have perfect pitch,
>then maybe you will be able to discover your own tones that correspond
>with the chakras,

Mostly those appear to respond to the natural harmonic series (a series of octaves, Maj. 3rds and perfect 5ths at first, followed by what might be termed a Lydian scale with the addition of a min.7th interval - or like a Lydian dominant scale plus a Maj. 7 etc.). One octave with the human voice seems to be enough to affect both the 1st and 7th chakras (you have to experiment with vocal timbre), and the 5th and Maj 3rd (roughly) in the middle cause the 4th and 3rd chakras to resonate decently. If you experiment with various head-tones (see info on singing technique) you can manage to stimulate areas around and including the 6th and 7th major chakras. I must comment at this point that this whole process of using sound to stimulate chakras does not necessarily result in anything that sounds beautiful or pleasing when it is effective.

>but I suspect that would only apply to you, and few
>of us are that talented.
>However, I do see a potential value in
>having an aural correspondence system as hearing is perhaps the most
>immersive sense we have. You can look at a color, but when you hear a
>sound, it flows through you. (At least, that's my experience of it,
>and why music will always mean more to me than art.) You want it to
>have some sort of internal logic, so that it satisfies your logical
>mind (and you don't find yourself wondering, "why am I listening to
>this?"), but that really seems to me to be the whole point behind
>Qabala in the first place. To pacify the logical mind.


That would be partly true of the Hermetic G.D. varieties of Qabalah from what I've seen, though the older sources play fewer intellectual games when you get into the practical hands-on (dare I say psychic perception) side of things. I personally don't waste my time with number games.

> > I have not been working much with stressing sounds in rituals. I have seen
> > books on the heavenly harmonies long time ago, but I have never taken off
> > by these ideas. That is mostly because rituals work without using specific
> > sounds, and then adding importance on sounds will of course make something,

I've found that when you try to fabricate a system of sound correspondences, you can eventually get them to have some effect due to the establishment of personal associations of course, but the best results occur when you don't try to fabricate a system and just see how sound actually affects the energies you're working with during ritual. While I haven't tried it much with Enochian work yet (I've put all my Enochian work on hold for the moment), I've experimented with sound during Hebrew-style workings for a few years now. During angelic invocation, I've found that vibrating a name is far more effective if you find just the right pitch for that specific name/force. It's as if the correct pitch helps to establish contact with the desired force/intelligence and then assists it to come through into some form of manifestation. Some names/consciousnesses require higher or lower pitches than others, and it's not always the same pitch every time that works most effectively. I'm usually prompted by the spirit/force to either raise or lower my pitch according to what it requires at that time, and sometimes I'm surprised at how they occasionally don't match up in any logical or musical way. For example, I usually perform the LRP and then vibrate the 4 archangels at the end using specific standard pitches that I've chosen. I do this the same way every time for sake of simplicity since there are certain occasions where I might not get a feeling of being prompted due to fatigue or distraction etc. I usually never go much beyond the range of 1 octave with my voice for any working.

To give a brief example of how it works in practice, during the Qabalistic cross I vibrate "Ateh" using the upper octave (whichever pitch happens to cause my crown chakra to resonate), and "Malkut" with the lower one (exactly an octave below the upper pitch), while the rest is vibrated using the 5th, except for the name "Adonai" (I use it instead of "Amen") which is vibrated using the 5th on "Adoh-" and the Maj. 3rd for "-nai" and then sustained slightly. During the last section, Auriel usually requires the upper octave in order to come through most effectively, while Michael and Gabriel seem to respond better to the 5th. Often Raphael is best contacted/brought forth using a pitch slightly lower than the others, such as the 4th, though this varies.

As far as using pitch (for making invocation/evocation more effective) is concerned, I don't see how you could create an air-tight system of correspondences that would work every time. So far I've seen where certain pitches work well most of the time, but there are occasions where I'm prompted to use higher or lower pitches in ways that don't sound very pleasant. I will say that using sound in an almost musical way is a highly effective way of charging up a temple space quickly (due to vibration - it's the whole 'everything is in motion and has a sound' philosophy etc.). Finding the pitch of a room and making it resonate sympathetically is very effective for establishing certain forces within the room with far less effort than if you'd chanted them at any random pitch (or one that felt comfortable only to your body) or just spoke them repeatedly. By making the whole room or parts of a room resonate sympathetically with a name/force, it's as though that force gets imprinted into the fabric/matter of the walls and raises them up (in energetic frequency or vibratory rate) to the level of the force being invoked.