My cousin Joanna, who is an accredited hypnotherapist and energy healer in the UK, came over and helped me find my own restorative energy.  She uses an alert-state hypnotherapy technique.

Healing journey

Following are highlights of the journey I took in the hypnotic state, with Joanna’s facilitation.  Obviously, this stuff is my personal experience – I’m publishing it in case it’s helpful to others, and because it was the inspiration for the color/tone chart, below:

I am in a grey box within a grey, rectangular steel structure.  It is like a prison.  Walking out of this institutional edifice, into the yellow sunshine of universal consciousness, the grey, bland cell around me that had disconnected me from my energy, dissipates – and begins to grow into a green energy, transformed by Nature.

We bring that green energy back into the institutionalized structure of grey in order to “heal” it.  As we do so, it transforms into a spiral, then a vortex, rotating anti-clockwise as viewed from below.  This green vortex of energy become a vortex of pink, as the grey energy of the other “inmates”/co-workers is gratefully dissipated and they regain their humanity – the pure potential of their life energy.  The old grey cells are dissipated back to the sunny yellow energy of universal consciousness.

The yellow, green and pink energies re-combine into a light-blue vortex, and this is the ultimate healing energy – the unlimited, universe-given energy which can heal everything, past, present, future.

Color/tone chart

Towards the end of the session – seeing the connection between the energies and colors in the “journey” and my work with sound and energy – I asked Joanna to pass me my guitar.  With eyes still closed and still in the hypnotic/alert state, I played each of the 12 notes of the chromatic  scale and called out the associated energies and colours – which Joanna wrote down.  Together, we mapped all of the notes to the energy states and their colors, as experienced in the “journey”:


All the colour tones are pastel shades – as created from light, rather than the kinds of colors we can print.

The three tones which I consider “ugly” (B, C-sharp, F-sharp) all have the tri-tone (AKA Devil’s interval) relationship to one of the three tonics, or are a diminished 2nd.  I think of those three notes like the plant that will kill you if eaten, but which can be used to create medicine.  And the section on Cancer treatment with tri-tones is a good example of this.

Harmonic associations and colours

  • Light-blue (B-flat) is the driver tone which generates all else.  It is the universal Soul energy – that which endures from one life to the next.
  • Its 5th harmonic is F – which represents the Body – in pink.
  • And the 5th of F is C, which resonates in sunny yellow as universal Consciousness.

So, we have a “trinity” of Consciousness, Body and Soul.  Being as this fundamental, trinity relationship was experienced as a series of related, essential healing energies in a narrative, rather than a logical attempt to insert theology into all this – I see the “elegance” of this as evidence of alignment with truth.

  • The note, C (Consciousness) is also the 2nd harmonic of B-flat (Soul), as well as the 5th harmonic of F (Humanity – or biological life) – so Soul and Humanity converge at Universal Consciousness.  And Yellow (universal consciousness) was the first healing energy that presented itself in the narrative.
  •  The 2nd harmonic of F (body) is G (Nature/green) – a harmonious relationship between the physical body and the Nature which it lives amongst.  And indeed, in our narrative, the green/nature energy vortex became a pink energy vortex when other people in the “journey” were subjected to it – recovering their humanity.
  • D (brown/wood/earth) is a 5th above G (Nature) – so has a harmonic relationship with the energy of Nature, of which it is a product.
  • A (the human notion of godliness or nirvana) is the 3rd of F (humanity) – an appropriate harmonic, as the best a human being can aspire to.
  • E-flat is the 7th of F.  I had intuited that it was simply “hopeful” – which makes sense, as it aspires towards F (humanity).
  • The grey box of E is the tri-tone of B-flat, the “Devil’s interval.”  It is the prison-cell of institutionalized living.  It is the “scientific” view-point – detached and objective and, as such, it is ultimately a prison cell.  It reinforces the illusion that we are separate from each other and the universe that swirls through us.  It is the deaf ears – the cotton-wool of the cosmic state, and yet, sometimes it is good to take a step back and attempt to look at things in an “objective” fashion – just not all the time.
  • B (black/death), C-sharp (jealousy) and F-sharp (anger) – are not really part of the harmonic sequence, but they do provide a context for the rest of the colours.  As Joanna reminded me, it’s best to think of this holistically – we may not like these tones, but they are there – as the background of dis-harmony that we can fall into – and must strive to get out of.  To exclude these notes and concepts from music and poetry would be to “write songs only about Ming china” – in the words of Keith Richards.  In other words, nasty shit is part of life – resolving out of it is the ongoing challenge of our lives.  I also think it’s funny that if we put red, black and lurid yellow/green together, we have a pretty bang-up Halloween costume – so, again, these unplanned, hypno-trance associations of colour to harmonic resonance, seem to make elegant sense.

Practical applications

  1. I plan to set up a light-show that will project these colors whenever the corresponding musical note or harmonic is played.  It should be a very healing kind of concert once we get it set up!  Perhaps I’ll write some music that mirrors the healing journey we took, above.
  2. One could write all kinds of narratives and stories involving the energies described above (“he passed through a wood (D) and there, in a sun-lit (C) clearing amongst the trees (G), he found a beautiful young woman F and they lived happily ever after  (B-flat))” = D, C, G, F, B-flat, etc).  Actually, that’s a pretty nice chord progression!  In this way, we could create a new kind of symphonic, story telling music, deeply resonant with the universal psyche.  “Tone Poems” – for real.
  3. One could also examine the music of the greats – for example, Beethoven’s Pastoral Symphony – to see, from the perspective of the energies related to the harmonies being played, what is really going on energetically – and mythologically – through the narrative of a piece of music.

September 9, 2016