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Dr. Andrew Colyer
In the Feburary 2007 issue of EQ magazine, there’s an interview with the artist Richard Melville Hall, better know as Moby (nicknamed for his great-great grand uncle Herman Melville’s classic novel Moby Dick).
“‘My goals are almost painfully simple,’ he says. ‘Honestly, all I want to do is just make music and make records. What the records might sound like, I have no idea; whether they’ll be good or not, I have no idea; whether anyone would ever want to buy them, I have no idea. But my biggest hope is to hopefully make music that I love and, maybe inadvertently, somehow make music that other people will love as well.'”
On Dr. David Hawkins’ Consciousness Scale of zero to 1000, Moby’s music in general calibrates at 256.
Seeing that the level of 200 is where Integrity and Positive Energy begins, Moby’s music calibrating at 256 helps to explain why his 1999 release Play (the only record in history to have all of its tracks commercially licensed) has sold over 10 million records.
Considering the overall level of consciousness of mankind is currently at 205 (as per Dr. Hawkins, as of August 2006), Moby’s music benefits a large portion of the population of humanity. To be specific, by Moby being fully who he is, and expressing himself in this way, 68% of the population of humanity is benefiting from his music = by virtue of the power of the field of consciousness that is being expressed.
What are you listening to?
Is the music you are listening to helping you? Is it helping to make you healthier? Is it helping to expand your awareness?
Music helps to create a certain type of environment. What are you creating? How is your environment affecting you?
On Saturday, I had the pleasure of being in a workshop/lecture with Kenny Werner at the International Association for Jazz Education (IAJE) conference in New York City.
Kenny is one of my mentors, through his book Effortless Mastery, video, and CD’s. He is a living example of someone who performs Consciousness Music.
Kenny has been writing and teaching about playing from “The Space” for over 10 years. His playing is a perfect example of what it sounds like to be in “The Space” when practicing, playing, and performing.
Anyone who has done meditation, quiet prayer, contemplation, or Qi Gong practice, will recognize “The Space” = it is all the same. “‘The Space’ is a place beyond the mind,” Kenny said. As a musician, when one gives up the need to sound good, the need to impress other people, the self-judgement that comes with being a performer, it is at that time that one is able to achieve a “liberated performance,” the thing that all artists and fans strive to feel and hear.
The problem is that many musicians become “top-heavy” with ego = playing from their head = which makes their performance sink just like The Titanic.
If, as a performer, one can be completely fulfilled and satisfied with whatever comes out = one note, many notes, consonance, dissonance, whatever = then that person is taking the right steps towards letting go.
It’s not just about playing from “The Space” either. It’s about living and playing from The Space. It’s about making a profound contribution to your own life and the lives of others. “People are being drawn to things that have meaning,” Kenny said.
Some students will ask, “Does all this being in The Space and playing from your heart mean that I don’t have to practice?” Kenny’s answer: “Someday, you might want to play in a different key or time signature. Playing in an odd meter of 7 or 5 should be as good and easy as playing in 4.” The whole point of practicing to continually become more technically proficient is so that Spirit can flow through you while you are in The Space. If you are having to think and struggle to get an idea out while you are playing, you have left The Space.
“Mastery is that which you do without thought. It is playing without thinking.”
“The Space becomes your teacher. The Space tells you when you’re done with something. The Space gives context and meaning, and removes the tyranny of styles.”
Sitting in the front row, I asked the question, “Can The Space tell you where to start?”
Yes, he replied. Find the smallest bit or piece of music that makes you relax = where you sink into The Space = and start there. See how you feel when you look at the page. It might be the whole page, half a page, two lines, or just two measures. Keep reducing it down until you relax. It might even be just two notes. Or one note.
Just relax. Play that one note from The Space. Tell yourself, “Every note I play is the most beautiful sound I’ve ever heard.”
Just breathe. Feel it.
That’s Consciousness Music.
Bruce Hornsby is one of my all-time favorite artists. Last night I had the pleasure of seeing him live at a solo piano show in NYC, at the Society for Ethical Culture. What a cool venue! The room is a place for spiritual worship, and we sat comfortably in padded pews = with plenty of elbow and leg room. The concert overall was great = and as a ethical bribe, we all received Bruce’s new Box Set, “Intersections”. It’s a 4 CD/1 DVD collection of Bruce and the various incarnations of solo piano, guests artists, and bands.
It is truly a joy to see a musician “channeling” the creative flow of the muse = which Bruce is able to do, whether in a band situation, or performing solo. The vehicle of solo piano, however, lends itself a bit better to complete and total “flow.”
On the Hawkins’ Consciousness Scale, the concert overall calibrated at 421. Considering the overall consciousness of mankind is currently at 205 (as per Dr. Hawkins, as of August 2006), this performance benefits the entire population of humanity. To be specific, by Bruce being fully who he is, and expressing himself in this way, 96% of the population of humanity was benefitted from this performance = by virtue of the power of the field of consciousness that was expressed.
How cool is that?
Some highlights of the concert last night, from a consciousness calibration perspective:
It is really enjoyable to see and experience musicians who strive for excellence, and write and perform from a space of duty to themselves and others.
That’s a great challenge to the musicians of the world.
Develop your talent = whatever it may be = writing, recording, mixing, performing, producing = to the absolute best of your ability. It’s your duty to yourself and your fellow man.
Thank you for reading.
P.S. There are two great resource sites for Bruce Hornsby: Bruce’s Home Page, and the Official Fan Site.
In David Tame’s book, Beethoven and the Spiritual Path, we learn that Beethoven was not the only composer who was writing to serve God and uplift humanity. “in the words of J.S. Bach, ‘The aim and final reason of all music should be nothing else but the glory of God and the refreshment of the spirit.’ Mozart held with the Masonic belief that the purpose of art was to promote peace, brotherhood, and harmony in all who experienced it, and devoted his music to this cause. And, to quote just one such line from Beethoven, on the score of his stupendous Missa Solemnis he wrote: ‘From the heart, may it reach other hearts.'” (pp.13-14)
David Hawkins, M.D., Ph.D., in Eye of the I:From Which Nothing is Hidden, writes the following: “To endeavor to evolve spiritually is the greatest gift one can give. It actually uplifts all mankind from within. . .” “All society is subliminally and subtly influenced by every kind and loving thought, word, or deed.” “The universe notes and records every action and returns it in kind.” (p.204)
Because of the infinite power of The Field of God, “Every kindness is therefore forever”. (p. 204)
If you listen to music (and if you are a living person on this planet, you do), what are you listening to? Is it uplifting? Besides just making you feel good in the moment, is it assisting you in raising your consciousness? Is it helping you to evolve spiritually?
Musicians of the world, what are you writing about? Why are you writing music? What is your intention for writing and/or performing music?
Food for thought.
"How would the world be different if, for example, all of us were to reclaim our inheritance as members in a 'tribe of light' who vow to bring enlightenment to all creation? If more and more people were to infuse the consciousness of light into their interactions — their intimate relationships, their work, and physical activities — the healing effect on others would be immeasurable."
–Pir Vilayat Inayat Khan, Awakening: A Sufi Experience
At Juilliard, Maestro Vincent LaSelva requires that we learn a new and different classical score for each Orchestral Conducting class. Last week I chose Peter Ilyich Tchaikovsky, most famous for his “Nutcracker Ballet” that is performed all over the world every year during the December holiday season.
In preparation for my Tchaikovsky assignment, I did a little research on what was going on in his life at the time he wrote the three symphonies I was thinking about conducting for class: Symphony No. 4, written in 1877; Symphony No. 5, written in 1888; and Symphony No. 6, written in 1893.
Symphony No. 6 was first performed one week before he died.
I wonder what was going on in Tchaikovsky’s consciousness that late in his life before he died?
According to Consciousness Calibration research utilizing Dr. David Hawkins’ Consciousness Scale, performed at Advanced Health & Wellness in Red Hook, New York, Symphony No. 4 calibrates at 500, Symphony No. 5 calibrates at 456, and Symphony No. 6 calibrates at 150.
150! My conducting mentor, Maestro Marcus Parris, told me that Symphony No. 6 was “darker”, but I had no idea it was that much darker!
We checked and re-checked this several times. What was going on in Tchaikovsky’s consciousness right before he died, that caused him and his music to plummet so much?
According to Dr. Hawkins, Tchaikovsky’s music = in general = calibrates at 550 (see “Truth vs. Falsehood”, page 98). We calibrated the “Nutracker Ballet” symphony music to be at 466.
What happened?
According to several different sources, Tchaikovsky was a homosexual, and was not comfortable with it. When he was 37, he married a woman thinking it would make him respectable. The marriage lasted nine weeks. One source says that while Tchaikovsky was composing the Sixth symphony, he knew he was near the end of his life, and thought that he was going to go to Hell because he was a homosexual. Critic Havelock Ellis called the Sixth symphony a “homosexual tragedy.” Tchaikovsky himself stated “The program is subjective through and through, and during my journey I often wept bitterly while composing it in my head.” He claimed that he had “put his soul” into the work.
According to Dr. Hawkins’ Consciousness Scale, the God-View (that is, the view of God from the person who calibrates at that level) at the calibrated level of 150 is that of a Vengeful God.
Did Tchaikovsky know he was going to die? Did he really think that he is going to Hell? Did he think on some level that God was taking vengeance on him for being a homosexual? Was he pouring out his angst of being a tortured soul into his Sixth symphony?
Things that make you go, hmmm . . . .
As for myself, I chose to work on Symphony No. 4, which calibrates at 500. Why? Because I want to surround myself with things of the highest possible nature. My intention is to continue to produce music that calibrates above 500 on the Hawkins Scale, for the benefit of mankind. If that is my intention, then it is in my best and highest interest to study and immerse myself in music that already calibrates at and above 500. As Dr. Hawkins says, “the field is stronger than you.”
What is the field of music that you are listening to?
What kind of mental/emotional/spiritual place were the artists, composers, and performers in when they recorded the music you are listening to?
P.S. For those of you who are interested, here is the breakdown of calibrations on Tchaikovsky’s Symphony No. 4: 1st movement, 501; 2nd movement, 461; 3rd movement, 502; 4th movement, 503; symphony overall, 500.
Thank you for being here.
In preparation for this week’s Orchestral Conducting class at Juilliard, I was studying the score and liner notes from the CD’s for Beethoven’s Fifth Symphony, third and fourth movements.
I do my best to listen to several different recordings of performances, because not only do different conductors bring their individual musical interpretations to the performances, but they (unknowingly) also actually bring their own Calibrated Level of Consciousness to the performance. One of the things that I like to do is Consciousness Calibration Research = one on the actual piece of music by the composer, and one on the specific recorded performance with that conductor and orchestra. Look for my comparison spreadsheet that will be available when I release my CD series of Consciousness Music.
In the liner notes of the CBS Masterworks Series with Leonard Bernstein conducting the New York Philharmonic, it is stated that the finale of Beethoven’s Symphony No. 5 in C Minor, Op. 67, is “a glorious ascent from the darker recesses of the soul to the light of courageous, challenging life.”
Wow. How cool is that?
Beethoven knew that his purpose was to create music that would uplift mankind. Because of that knowing, and his courage and persistence to take action on that intuitive knowing, his music still is still here influencing and affecting us hundreds of years later.
What is the purpose of the composer(s) and performer(s) of the music that you listen to?
What do you think the consciousness is of today’s popular music composers and performers?
Why are they writing and performing?
Where do you think they would calibrate on Dr. David Hawkins’ Consciousness Scale?
Grief? Fear? Anger? Desire? Pride? Courage? Responsibility? Acceptance? Reason? Love? Joy? Peace?
What are you listening to?
In the April 2006 Issue of Hudson Valley Magazine, there is an article about one of the world's greatest living jazz artists = tenor saxophonist/composer Sonny Rollins. Rollins is interviewed for this magazine because he is a resident of Columbia County, here in Upstate New York. In the words of the interviewer, Thomas Staudter, "man and instrument are one".
To be a great jazz improviser, one has to overcome the challenges of the left brain = technique, scales, the harmonic structure of music = and move fluently into the right brain aspect of spontaneous flow. This requires a shift in consciousness. Some are able to make the shift, others never do. That is not to say that they are not capable; they just have not practiced enough, exposed themselves enough, mentored with a teacher enough, played out enough, etc., to make the necessary shift from left brain playing to right brain playing.
If you ask Kenny Werner, composer, pianist and educator, and author of Effortless Mastery (look for an upcoming blog post dedicated just to him and his book), some people have just not been mentally and emotionally kind enough to themselves to be able to make the shift. They are too busy berating themselves for what they are not doing, instead of relaxing into "the space" and allowing whatever wants to come out through them to be expressed.
Sonny Rollins has been channeling jazz for decades, celebrating his 75th birthday last September. In the magazine article, Rollins discusses the fact that for him, music is not only to express joy, but it's also "an important social force." He also has his own spiritual interests, and believes in "having some values outside of materialism."
At the International Association of Jazz Education (IAJE) conference in Manhattan in January, Rollins "sat outside a ballroom post-interview and signed hundreds of autographs, taking a moment to greet each well-wisher". He apparently shares "similiar displays of his generous spirit after each of his concerts".
"It's connecting with his audiences that keeps the artist at the top of his game. 'I want people to leave my concerts with a positive feeling so they'll feel hopeful and optimistic about everything,' Rollins remarks. 'That's my ultimate aim, that's why I play.'"
God bless you, Sonny Rollins. That's why I write and play, too.
In Dr. Wayne Dyer’s book, “The Power of Intention”, he uses the word “Intention” not only to describe a strong purpose or aim or goal, but also interchangably with God, or the Field of Consciousness, or Universal Source, etc. He states that this field of consciousness is also the Power of Intention, because we were all intended to be here. It is in that context = the Field of Intention = that the word “intention” is used in the quote below.
“Become conscious of the energy level of the music you listen to. Harsh, pounding, musical vibrations with repetitive, loud sounds lower your energy level and weaken you and your ability to make conscious contact with intention. Similiarly, the lyrics of hate, pain, anguish, fear, and violence are low energies sending weakening messages to your subconscious and infiltrating your life with similiar attractor energies. If you want to attract violence, then listen to the lyrics of violence and make violent music a part of your life. If you want to attract peace and love, then listen to the higher musical vibrationns and lyrics that reflect your desires.”
I intend to be a beacon for this message for the rest of the world.
What are you listening to?
Consciousness Music 