Posted to Subscribers on 12 November 2017


Dear Subscribers,

This will be the last of the anniversary posts and then everything will return to the normal rhythm.

Today, I want to talk about sound and sound therapy. First of all, because we are created by sound and it affects the matrix in which we shape our manifest reality, it is important what we hear as well as what exists as sound that is outside of our hearing range. Unlike the eyes, the ears hear in more octaves. There is however sound throughout manifestation, but we do not necessarily hear it. All sound forces some kind of entrainment, but our guarantee of ultimate reunion with the Creator is due to the power of original sound. Let's word this another way. No matter how dissonant our behavior and sound, we do not have the strength to deviate indefinitely. Based on this, I personally believe that there is no permanent hell. Moreover, hell is essentially of our own making. We deviate and pay the price.

Yesterday's post was entitled the Path of the Bodhisattva. You could call a Bodhisattva a saint, but the actual vows differ somewhat according to the particular sect. The goal of Buddhism is enlightenment and this is more or less the ticket to Nirvana, but it is a one-way ticket and one can postpone the journey until "every blade of grass has entered Nirvana" or perhaps there can be variations of this concept, but Buddhism refers frequently to sentient beings so we have to decide what is sentient. As you know, I believe every cell has its own kind of sentience, but I did not read that somewhere. I observed it.

There are two main kinds of sound therapy: sound and music. Sound therapy uses various frequencies to create an impact and specialists in this field usually have specific ideas of which organs and functions will be affected by the frequencies. The problem with any passive therapy is that patients can relapse very quickly because the energy field created is usually temporary. The patient then goes back to his or her routine where the dysfunctional patterns are resumed and the disease recurs. However, this risk does not justify ignoring the therapy because it may buy time or give the patient a window into possibilities that need to be encouraged and sustained.

Music therapy is very different because the imagination or inspiration of the composer along with the quality of the performance and suitability for the client at the time of the therapy all affect the experience. What also affects the experience is the time the therapy is offered. For example, by reference to a horoscope and its dissonant patterns and their relationship to the planetary positions at the time of therapy, it is quite possible to predict which patterns will be addressed in the session. To make this clear, let's say that the main issue is abandonment. Truthfully speaking, I think this is what we could call the Cosmic First Wound because our separation from the Creator usually causes a crisis in confidence. I try to think of a baby bird who has to fledge, but the feeling of leaving the security of home can be traumatic. As we have incarnate experiences where we suffer for our mistakes, we come into self doubt and recrimination and perhaps also guilt, remorse, and dreadful feelings of unworthiness. I do not think any honest person lacks these sentiments, but we handle the complications in our own unique ways.

Having a mission does, in fact, alleviate some of the issues because, for the most part, no one is here because they have been exiled but rather because there are missions as well as particular possibilities for learning.

Over the last week, I have exchanged some thoughts with a dear colleague who has a magnificent singing voice. The human voice can be a very beautiful and powerful instrument, and there are actually therapies for improving the quality of the voice, both speaking voice and singing voice. These are highly important. One of the reasons I mostly hate about what is happening with mass media is that contrary to a beautiful sextet or chorus in opera, we are often exposed to several people speaking at once and trying to drown out the thoughts of their guests and colleagues. I personally get nothing out of such experiences except a case of nerves. I also detest all the robotic uploads with the mispronounced words and usually plagiarized material. The goal today is not to lament, but to underscore the difference between inspiration and copying and pasting. Inspiration can be divine. Actually, it should be divine. It usually comes via the right side of ajna chakra and the feeling or flavor is passed to the left side to interpret and then to the throat to manifest. That does not mean the throat chakra is used to voice the inspiration but rather to materialize it, and the materialization can take many forms.

Within the world of music therapy, there is an enormous range. I will point out some of these but not comment too much on the therapies I personally do not use. Let's start with some fairly popular therapies such as explained in the Mozart effect. In this instance, music, not just Mozart, is used to enhance memory. It is actually an ancient method used in theater where there are scripts to memorize and the lines are associated with places, i.e., parts of the stage and its settings, as well as sounds that help the actors to recite their lines correctly. Today, the prompter box fills in where memory is inactive. This is very important. Whether or not we are talking about political speeches, TED presentations, or operatic performances, there is a prompter aiding the delivery. Where politicians are concerned, many are running on auto pilot and reading speeches they did not write. With TED, we expect the presentations to be original and very well organized because the allotted time puts a tremendous pressure on the presenter to be very focused and succinct. With opera, the prompter is there to help when the memory falters.

There is also music therapy used almost entirely for relaxation. Hardly anything needs to be said here as most of us have at one time or another tuned out the world just to unwind or center. There is however a specific kind of music therapy, especially using the harp, where the idea is to pull the sound into the body. With the harp, the movement of the hands is to pull on the strings in the direction of the body, and there are many groups using harp therapy for this purpose. The harp is, however, one of the most difficult instruments to play, but when properly tuned, it is perhaps also the least dissonant instrument known to us. Okay, I can get very Virgoan and go on and on with details, but I want to talk about the music therapy I do, which is derivative, meaning it combines elements of several therapies with some of my own modifications.

This is the most complicated and demanding work that I do. To give this a little context, I will say that a really good student can learn the basics of astrology in two years. This means, they have read a lot of textbooks and have a reasonable grasp of the meanings of the signs, planets, relationships between planets, houses, and some techniques. In about four years, a good student can give a basic interpretation of a chart without relying too heavily on textbooks. In seven years, the student will have some ability to work using his/her own experience in addition to the texts. In twenty years or so, a very good student can write some books that are not just copied and pasted from other sources.

With herbs, the learning curve is actually steeper and longer. In the early years, even if trained in a very good system of herbal medicine, one is just trying to get a grip on the basics. It will be years before a good student can make a correct diagnosis and prescribe correctly and even longer before the individual can formulate something that is somewhat more than a knock off of an existing formula. Writing a book should be deferred until the herbalist has decades of clinical experience.

With music therapy, one must have a fairly good understanding of music. This does not mean one has learned to play an instrument because we see prodigies who are giving astounding performances at two or three years of age, but they are performers, not therapists. The comfort zone with music has to do with repertoire and, in today's world, it is quite possible to graduate as a music major without having much repertoire. I have followed the careers of professional musicians for decades and realize how rapidly they mature once joining a symphony orchestra or opera company. It does not mean one must play an instrument but one must have a broad knowledge of repertoire. Yes, I have sometimes created minimum lists for a CD collection, but if one does not actually know the music well, the list is not much more than a crutch.

Secondly, there is the element of guided visualization and the prompts must be meaningful. This is the part of the therapy that is most strenuous for me because I have to get inside the other person's reality, and I discovered that I am doing this in a mirror-like way. Let me explain. Let's say a person sees himself or herself and a horse. I will perhaps see the horse on the right but the client will say the horse is on the left. Everything I see seems to be mirrored so I have to interpolate, listen, follow, lead, and suggest all at the same time. Besides, I have to decide when to change the music or move some energy around in the chakras.

Just as with psychotherapy, hypnotism, or countless other disciplines where there is interaction between the client and facilitator, no one should attempt the work unless he/she has first experienced the work. As some of you know, Gail Barber was my best friend for many years. She was a professional concert harpist, composer, and teacher for many years but retired a few years ago and is struggling now with age. When we first met, we facilitated sessions for each other for months on end, this over a period of five years, but mainly during her summer breaks. The point here is that there is a terrain in the other dimensions and one must be personally familiar with that terrain so as to know the possibilities and/or limitations that exist there.

I do not think this prerequisite is different from that of certain other disciplines. For example, Jungian analysts are generally first patients before they become practitioners because they must know the landscape of the psyche before they can guide anyone else. Having one session is not enough. Surely, it is interesting, but the goal of healing is to resolve issues, and this can be a very long and deep rabbit hole.

Kitzia and I were having some deep exchanges recently in which we discussed memories of other lifetimes. I have probably dredged up fragments from 135 different lives, but I do not have an extensive history of more than a couple of them. The point here is that each exploration examines a pattern, not a chronology or historic record. There are patterns that repeat and repeat and this is also what happens with music. There are notes and various arrangements and sequences of notes, motifs, repetitions, and so and on so forth, and the same recording when used for different people elicits different responses. Likewise, if used for the same person, they will hear different things depending on what has been resolved in the past and what is the subject for the present. Let me try to make this clear. One of the recordings I use quite a bit is the Fauré Requiem. I probably have more than a dozen performances of it. I actually remember when I first heard it myself. It was at a service for President Kennedy at Yale University a few days after he was assassinated. It is a very beautiful piece of music and has been peculiarly poignant in therapy. One story will suffice, I hope, to show how we listen differently depending on where we are at any given time. One client was dealing with issues with men and she found the male and female voices helped her to understand what attracted her and what offended her in her relationships with men. She was able to bring her energy into better alignment with the masculine parts of herself as well as the masculine parts of others. In the next session, she specifically asked that we use the same music, but she went into spaces when she addressed the fear of death as well as what happens in the afterlife and even how the next incarnations are planned. We used the same recording for many sessions and there was practically no overlap in experiences because once a problem is resolved, there is no need to go back there.


With sheet music:


My experience is that for the most part, music is not suggestive. The exceptions to this are interestingly most often found with Debussy. Many, many people recalled incarnations in China when using his music. I do not think the content of the memories was influenced by the music, but use of the pentatonic scale may have contributed to the tendency to find a link to China, and, it is absolutely possible that another facilitator would have totally different experiences.

To-date, because the maturity required and need for hands on learning experiences, I feel I have only taught one other person how to do this work at a meaningful level. Hanne is a Danish lady of my vintage who is also an astrologer, herbalist, and psychically sensitive individual. We exchanged sessions with each other last time were together and there is no doubt in my mind that she can do this work correctly and responsibly. Why am I making a fuss about this? So many people want the keys to the castle but they do not know how the psyche is organized nor what the impact will be on the perception of reality.

Now, let me refer a bit to yesterday's post. I said that the master plan exists on the level of the seventh dimension. Obviously, one's concept of the purpose of life changes if one becomes conscious of that plan. Since the Internet is full of all sorts of material, some of it excellent and some of it rubbish, I just want to chip in my two cents. Lots of people are babbling on about fifth dimensional consciousness. I wonder why we are not thinking about the fourth? It is an idealized version of the third. Let me make this as clear as possible. If you were always respectful, polite, kind, thoughtful, gentle, compassionate, and patient, you would be fourth dimensional. These may not be one's aspirations, but if we were never off-balance, never irritated, never rude, we would be free of the polarities and issues of the third dimension. The fourth dimensional self is not perfect, but it is very refined.

One of the really interesting aspects of music therapy has been my little window into the vibrations of the dimensions. With each increase in dimension, there is a comparable increase in courtesy, vocabulary, and the capacity to articulate without hurt or blame. I have occasionally done music therapy for people who are not very polished in the third dimension, but on the fourth, they are quite lovely. In a kind of a way, it would be fair to say that by human standards, everyone is a masterpiece by the fourth dimension. This does not imply that everyone is a genius but the rough edges are missing in the fourth dimension.

The fifth is very mental and very challenging for nearly everyone. It is truly hard to access because we have so many misconceptions to sort out that the fifth dimension is really confusing when we try to process the information using a rational mind. That said, if there is some kind of definition of genius, then the details that contribute to the excellence in a particular discipline are found in the fifth dimension. In my view, sainthood is attained in the sixth dimension. Implied in this is that the sixth dimensional archetype of our present incarnations is so perfected and unselfish that it is much closer to angelic than human in nature. It has an enormous breadth of understanding, inclusivity, and total absence of petty emotions and issues. The seventh dimensional self has, as noted, the master plan, but that self is modest and sometimes reluctant to share more than the individual can handle. It is gracious but reserved. It might say something like, "Because of your desire to know, you will be shown a little of what you seek." Implied in this is that when we have worked our way through the layers and integrated everything into our manifestations, we will be permitted to see more in the seventh dimension. In short, though the doors were opened and the individual was allowed a brief insight, that experience will not be granted again until it is earned.

I cannot teach music therapy by e-mail. It must be done in person. It is very labor-intensive, tiring, and transformative, but the clients need time for integration and stabilization. By this, I mean, we do not travel to another planet or dimension and then jump in the car and go to a supermarket. This would actually be dangerous for most people.

I feel it is my duty to train others to do this work, but I can only do this if those wishing to learn are able to practice with some oversight. I know the work can look easy to someone who has only had one experience and does not really know all the potential, but, as I said, Hanne would be the only person I would certify to do this work.

With all the material I have put online, it is not surprising that I sometimes get a little touchy about the depth that is required to work responsibly. In any event, tomorrow my life and rhythm will return to normal and the posts will probably be more practical. That said, I believe that with what I have shared today, you know that the assertion that aliens pose a risk to the survival of the Earth is probably high nonsense. I have shared enough, I hope, to convince you that the higher dimensions also imply higher levels of perfection and better alignment with the Voice of the Creator. Try not to be misled by those who use disinformation to engender fear.


Peace, love, and blessings,

Many blessings,



Copyright by Ingrid Naiman 2017

The Astrology of Healing





Seventh Ray Press
Copyright by Ingrid Naiman 2017

Home || Contact Us

No content on any of the pages of this web site may be reproduced without written permission of
Ingrid Naiman and Seventh Ray Press, publisher of this site.


Design by Damien Francoeur