COLOURS THAT VIBE

Socrates, Plato, Pythagoras, Hermes, and all, if not most ancient philosophers were initiated in the secret teachings of secret societies. Many of these esteemed thinkers were initiated into The Druidic Mysteries, the Gnostic mysteries’ the mysteries of Serapis, the Eleusinian mysteries, the Bacchic mysteries, the Dionysiac mysteries, the peer meant mysteries and so many more.

In this blog, I am going to talk about the connection of colour, vibration, the planets, the chakras and music.

Edwin D. Babbitt writes “light reveals the glories of the external world and yet is the most glorious of them all. It gives beauty, reveals beauty and is itself most beautiful. It is the analyser, the truth teller and the exposer of sham, for it shows things as they are. Its infinite streams measure off the universe and flow into our telescopes from stars which are Quintilian’s of miles distant. On the other hand, it descends to objects inconceivably small, and reveals to the microscope objects 50 millions of times less than can be seen by the naked eye. Like all other fine forces, its movement is wonderfully soft yet penetrating and powerful. Without its vivifying influence, vegetable, animal, and human life must intermediately perish from the earth, and general rune take place. We shall do well, then, to consider this potential and beautiful principle of light and its component colours, for the more deeply we penetrate into its inner laws, the more will it present itself as a marvelous storehouse of power to vitalize, heal, refine, and delight man coming.” (See ‘The Principles of Light and Colour.)

This divine substance called light is the basic physical manifestation of life and it is actually a rate of vibration causing certain reactions upon the optic nerve. To the human eye there are many limitations in perceiving this divine light in all its forms and aspects. There is so much about this divine light within us, that we do not know about or have optical equipment that is capable of registering some forms of light. There are unnumbered colours which cannot be seen, as well as sounds which cannot be heard, odours which cannot be smelt, slavers which cannot be tasted, and substances which cannot be felt. Mankind is surrounded by a supersensible universe of which he knows little because the centre of sense perception within himself has not been developed sufficiently to respond to the secular rates of vibration of which this universe is composed.

Ancient societies were cognizant of the importance of colour and assigned colours to the seven planets, that they were aware of. For example, the ancient city of Ecbatanna as described by Herodonotus, had seven walls coloured according to the seven planets, and the famous zikkurat or astronomical power of the God Nebo at Borsippa ascended in seven great steps or stages, each step being painted in the key collar of one of the planetary bodies. (See Lenormant’s Chaadean Magic). These two examples indicate that the Persian Magi and the Babylonians were familiar with the concept of the spectrum in its relation to the seven creative gods or powers.

In a memo, Plato, speaking through Socrates, describes colour as “an effluence of form, commensurate with site, and sensible.” In the mysteries the seven Logi, or Creative Lords, are shown as streams of force issuing from the mouth of the Eternal One. This signifies the spectrum being extracted from the white light of the Supreme Deity. Worship of the planets is based upon ancient peoples acception as the cosmic embodiments of the seven creative attributes of God. The Lord’s of the planets were described as dwellings within the body of the sun, for the true nature of the sun, being an allergist to the white light, contains the seeds of all the tone and colour potencies which manifests.

There are numerous arbitrary arrangements setting forth the mutual relationships of the planets, the collars, and the musical notes. The most satisfactory system is that based upon the law of the octave. The sense of hearing has a much wider scope than that of sight, for whereas the ear can register from 9 to 11 octaves of sound the eye is restricted to the cognition of bots seven fundamental colour tones, or one tone short of the octave. The colour red is the lowest tone, thus corresponds to do, the first note of the musical scale. Orange corresponds to re, yellow to mi, Green to fa, blue to sol, indigo to la, and Violet to si. The accuracy of the above arrangement is attested by two striking facts: (1) the three fundamental notes of the musical scale – the first, the third and the fifth – correspond with the three primary colours – red, yellow, and blue; (2) the seventh, and least perfect, note of the musical scale corresponds with purple, the least perfect tone of the colour scale.

Edwin D. Babbitt, in The Principles of Light and Colour, confirms the correspondence of the colour and musical scales: “as C is at the bottom of the musical scale and made with the courses waves of air, so is read at the bottom of the chromatic scale and made with the coarsest waves of luminous ether. As the musical note B (the seventh of note of the scale) requires 45 vibrations of air every time the note C at the lower end of the scale requires 24, or a little over half as many, so does extreme Violet require about 800 trillion of vibrations of ether in a second, while extreme red requires only about 450 trillions, which also are about half as many. When one musical octave is finished another one commences and progresses with just twice as many vibrations as were used in the first octave, and so the same notes are repeated on a finer scale. In the same way when the scale of colours visible to the ordinary eye is can in the Violet, another octave of finer invisible colours, with just twice as many vibrations, will commence a progress on precisely the same law.”

Colours and the zodiac signs

When the colours are related to the 12 signs of the zodiac, they are arranged as the spokes of a wheel. To Aries is assigned to peer red; to Torres, red – orange; two Gemini pure orange; to cancer, orange – yellow; to Leo, pure yellow; to Virgo, yellow – green; to Libre: pure green; two Scorpio, green – blue; to Sagittarius, pure blue; to Capricorn, blue – Violet; to Aquarius, pure Violet; and to Pisces, Violet – red.

H.P.Blavatsky and his esoteric philosophy, relates that colours to the septenary constitution of man and the seven states of matter as follows:

Colour Principles of Man States of Matter

Violet Chaya, or Etheric Double Ether

Indigo Higher Manas, or spiritual intelligence Critical State called Air

Blue Auric Envelope Steam or Vapour

Green Lower Manas, or Animal Soul Critical State

Yellow Buddhi, or Spiritual Soul Water

Orange Prana, or Life Principle Critical State

Read Kama Rupa, or Seat of Animal Life Ice

This arrangement of the colours of the spectrum and the musical notes of the octave necessitates a different grouping of the planets in order to preserve their proper tone and colour analogies. Therefore, do becomes Mars; re, the sun; mi, Mercury; fa, Saturn; sol, Jupiter; la, Venus; si (ti) the moon.

THE PHILOSOPHY OF MUSIC

It is highly probable that the Greek initiates gained their knowledge of the philosophic and therapeutic aspects of music from the Egyptians, who, in turn, considered Hermes the founder of the art. According to one legend, this god constructed the first lyre by stretching strings across the concavity of a turtle shell. Both Isis and Osiris were patrons of music and poetry. Plato, in describing the antiquity of these arts among the Egyptians, declared that songs and poetry had existed in Egypt for at least ten thousand years, and that these were of such an exalted and inspiring nature that only gods or godlike men could have composed them. In the Mysteries the lyre was regarded as the secret symbol of the human constitution, the body of the instrument representing the physical form, the strings the nerves, and the musician the spirit. Playing upon the nerves, the spirit thus created the harmonies of normal functioning, which, however, became discords if the nature of man were defiled.

While the early Chinese, Hindus, Persians, Egyptians, Israelites, and Greeks employed both vocal and instrumental music in their religious ceremonials, also to complement their poetry and drama, it remained for Pythagoras to raise the art to its true dignity by demonstrating its mathematical foundation. Although it is said that he himself was not a musician, Pythagoras is now generally credited with the discovery of the diatonic scale. Having first learned the divine theory of music from the priests of the various Mysteries into which he had been accepted, Pythagoras pondered for several years upon the laws governing consonance and dissonance. How he actually solved the problem is unknown, but the following explanation has been invented.

One day while meditating upon the problem of harmony, Pythagoras chanced to pass a brazier's shop where workmen were pounding out a piece of metal upon an anvil. By noting the variances in pitch between the sounds made by large hammers and those made by smaller implements, and carefully estimating the harmonies and discords resulting from combinations of these sounds, he gained his first clue to the musical intervals of the diatonic scale. He entered the shop, and after carefully examining the tools and making mental note of their weights, returned to his own house and constructed an arm of wood so that it: extended out from the wall of his room. At regular intervals along this arm he attached four cords, all of like composition, size, and weight. To the first of these he attached a twelve-pound weight, to the second a nine-pound weight, to the third an eight-pound weight, and to the fourth a six-pound weight. These different weights corresponded to the sizes of the braziers' hammers.

Pythagoras thereupon discovered that the first and fourth strings when sounded together produced the harmonic interval of the octave, for doubling the weight had the same effect as halving the string. The tension of the first string being twice that of the fourth string, their ratio was said to be 2:1, or duple.

The key to harmonic ratios is hidden in the famous Pythagorean tetractys, or pyramid of dots. The tetractys is made up of the first four numbers--1, 2, 3, and 4--which in their proportions reveal the intervals of the octave, the diapente, and the diatessaron. While the law of harmonic intervals as set forth above is true, it has been subsequently proved that hammers striking metal in the manner

Chakra and singing bowls

Chakra Colors

The Visible Light Spectrum

Colour Wavelength nm Frequency THz

Red 625 - 740 400 - 484

Orange 590 - 625 484 - 508

Yellow 565 - 590 508 - 526

Green 520 - 565 526 - 606

Blue 500 - 520 606 - 670

Indigo 435 - 500 670 - 700

Violet 380 - 435 700 - 789

The sound of singing bowls can have a healing result on an individual, and can be used therapeutically. This is an introduction to singing bowls connected to the major chakras based on the Buddhist Tantric System. Chakras can be referred to as 'power engines', or 'energy facilities' of the body. There are lots of different chakras and practices pertaining to them. Each chakra has distinct components and corresponds with a certain tone of the musical scale and an unique shade. The notes of the bowls correspond with each of the significant chakras. Keeping these facilities in harmony causes wellness and harmony. The lower chakras, situated lower than the diaphragm are connected to the physical or survival world. Those chakras situated over the diaphragm are linked with spiritual, imaginative or expressive tasks. The Crown Chakra is positioned at the very top of your head. Violet is the shade of the crown chakra, and the musical note is B. The 3rd Eye, or Pineal chakra is in the center of the forehead. Darker blue is their color, and their notes are A and A#. The Heart and High Heart chakra is positioned in the center of the chest. Green is the shade of the heart chakra and the musical note is F or F#. In some cases, the heart chakra is revealed as pink, specifically for relationships and sending love from your heart. The Solar Plexus chakra is found midway in between the end of the breastbone and the navel. Yellow is the shade of the solar plexus chakra and the musical note is E. The Sacral chakra and the Sexual chakra is positioned in placed area between the navel and the pubic bone. Its color is orange, and the musical note is D and D#. The Root and Om chakras are found at the base of the spinal column. It is connected with problems of survival, drive, aspiration, and grounding one’s energies in the physical body. Its color is red and its note is C and C#. The Throat Chakra and Zeal Chakras are located in the base of the throat. It is related to communication, phrasing, and speaking the truth. Lighter blue is the color of the throat chakra, and the note for it is G and G#.

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Human Emotions Vibration Analysis Frequency Ranges

Every person on this planet is vibrating at a very subtle hertz frequency rate or their personal vibration analysis. We have a base metabolic rate when at rest, but when events start happening in our lives and our emotions are engaged our vibrational rate changes rapidly and often dramatically.

From the moment, we are born our emotions are engaged and our mind then starts learning defense reactions, which are imprinted and stored deep in the mind’s recesses.

As we move through each experience in life most of our reactions become automatic, often negative, emotional reactions as a learned habit. Our own behavior seems uncontrollable. In Western society, we are not taught at home or in our education system how to view each life experience separately and appropriately, how to learn from those experiences, process them and let go the negative emotions, without emotional blocks appearing inhibiting our choices in both behavior and activities we could enjoy participating in but don’t due to fears that have emotionally engaged with.

Emotions and Vibration Analysis

These negative emotions become stored – we literally are programmed until that program is dissolved and replaced by another. By the time we are an adult we have had so many unresolved experiences that many of our responses are automatically negative, and then perpetuate events for not the best outcome serving only to reinforce our initial learning from a time long ago – we are caught in a negative emotional events cycle often based on long forgotten memories.

Once in these negative cycles, negative events and consequent negative emotional reactions become more and more frequent – a natural life lesson occurrence triggered to keep giving you opportunities to see the pattern, process it and dissolve it using the vibration analysis.

Reactions that trigger negative interactions include – judgement of others, feelings of you’re the victim, comparing yourself to others, perception that we are not all equal, are just a few.

Breaking negative cycles is paramount in raising your emotional state to mainly experiencing higher frequency vibration emotions such as joy, love, acceptance – this begins by making the decision, using your Will, that you no longer wish to behave in this way. Then you begin the journey of finding information, tools and techniques right for you to start breaking the constancy of these lower emotional reactions, choosing to act from love as often as you can, and congratulating yourself when you do move through challenging situations in a higher and higher emotional state. Self-scrutiny becomes a habit and an effective tool.

Ydimensions. and sounds. It is believed that the higher dimensions vibrate at higher levels and as we reach these higher levels of vibration, we can see and experience entities and environments of these dimensions.