The All-Seeing Eye and Music The Highest Form of Communication Sacred Music

Transcription

1 Beloved Cyclopea Discourse/Darshan David C. Lewis Meru Course #907, Divine Science of Sound, Music, Mantra and Song September 21, :46 8:55 p.m. MDT Livingston, Montana The All-Seeing Eye and Music The Highest Form of Communication Sacred Music So we come to the part of our class now where beloved Cyclopea is here and desires to share some concepts first and then we ll open the remaining time to the students to ask questions. As I was meditating, Cyclopea showed me that we each have two outer eyes, and then we have the third eye which is indicative of and representative of the All-Seeing Eye of God that Cyclopea embodies as the Elohim of the fifth ray. And as many of you know, Cyclopea has been called the God of Music. So why does the third eye and the All-Seeing Eye of God have to do with music when we consider that music flows through sound through our throat chakra? When you look at the third eye as it relates to the other two eyes and you draw lines between all three, you form a triangle. And we know that the All-Seeing Eye of God has been represented in certain traditions within the pyramid, the top, the apex of the pyramid in Masonic teachings. And so, what happens, Cyclopea is saying, is that the third eye creates the doorway or the apex through which the light of our physical eyes can be raised into higher consciousness. It is a portal for the resonation of the light of all of the lower chakras up into and through that doorway, that apex to the divine world. When our vision is clear and pure, then we see as God sees. Now the purpose of our throat chakra is communication. And the highest form of communication Cyclopea says that we can engage in is sacred music through our voice. Mother Mary has asked us to sing our prayers. And we have by the grace of God a number of individuals who have been inspired to put the words of our prayers and mantras and decrees into music. And we have been told that the power that comes through the singing of our prayers is threefold what it can be just through the giving of the prayers through our voice. This is the power of that element of the voice raised in song to communicate through the angelic tongue of our Higher Self in such a way that there is a greater release of spiritual energy and cosmic fire through the voice. Mother Mary herself has dictated through me and sung the dictations. And the first time that happened I was amazed. And, of course, I didn t know it was going to happen. I believe it was in a church in California during the Mission Tour where we visited all 21 missions. And it was beautiful because the resonance within that church, the vibration was doubly benefited by the fact that she sang, and then the echoing of the sound just carried through the entire church. Singing prayers accelerates the light invoked through both hemispheres of the brain. Because when we sing, there is a resonance that brings through balance and harmony through the third eye and through our eyes the light of the pineal gland, which many of us know [has lain] dormant in most of mankind. And we are not utilizing the 1

2 higher faculties of that gland that in past Golden Age civilizations, the adepts used and wielded great God-power, wisdom and love in their spiritual work. So when you sing and you sing in harmony and when you engage in this holy or sacred music, and through great training and through the blending of voices through the angelic tongues of embodied angels such as those in the Vera Choir who have come to do this great planetary work and their daily, holy scientific prayer through song, they engage not only their own higher faculties but their voices are actually blended with the angelic choirs. And there is a suffusion into the planet into the deepest levels of the astral plane as well as all planes of being of that sacred sound and vibration that is transformative and changes the planet itself. Now what Cyclopea showed me as I was meditating is that the greatest of the composers could actually see the music as it was being inspired upon them by either higher beings or their own Higher Self. They could see because of their mastery of the science of composition and knowing the instrumentation of all the various instruments and the nuances of how each instrument blends within an orchestra. They could actually see that music being filtered through the lens of their Higher Self onto the paper and could write great compositions, even not being able to play them such as Beethoven when he was actually deaf could write and hum in his own being even though he was nearly deaf. He could hum and see that music as it was being inspired upon him and write it down on paper. In a sense it was miraculous. But this is the mastery of these great composers. There s a scene in the movie Amadeus where Salieri was looking at sheet music that Mozart had written on that he had tricked Mozart s wife into showing him. And he could, because of his own understanding of composition, hear it in his mind s eye just by viewing that sheet of music. And he was just in awe of the cosmic movement of the sound through the music that Mozart was creating and composing at that time. So individuals such as Master Peter Deunov and even Gilles and others, who have composed and who direct orchestras and choirs and who conduct them as those arbiters of the divine sound that is coming forth and who are very sensitized to vibration, can be the instruments of the higher celestial beings who are pouring forth light through the glorious representation of music through sacred sound, sacred chant, sacred song of these disciplined choirs, madrigal groups and choruses. I look forward to the day when the vast majority of our prayers are sung by all of us who will receive training, who will begin to master our voices in such a way that we can blend together as choruses. As you know, Mother Mary recently asked us to form a choir within The Hearts Center. Why did she do this? It is because she knows the science of music being an archeia herself. And she understands the directing of frequencies of light through sound and through music. And she knows that we can not only benefit the planet by an increase in the momentum of light that is released through music through a holy chorus but that we, each one of us, will be the benefactors health-wise, wealth-wise and especially spiritually-wise when we begin to master the science in a way that is more disciplined for many of us. I have sung in a choir. I was a member of the group that the Church Universal and Triumphant had many years ago under the direction of Dorothy Lee Fulton. And I can tell you that we spent many, many hours practicing and mastering the words, the lyrics of the various songs that we sung. We were actually asked to fast on a regular basis one day a 2

3 week and three days a month. And we had to do that to be a member of that choir. We had to do other spiritual disciplines that would carve out of ourselves certain past patterns and momentums such that we could be clear vessels and chalices for the light to flow through us as we were singing. And many of us had had some training in singing. Some had obviously mastered it to a greater extent, such as Robert Worobec and other trained voices. But the effect of that sacred sound was tremendous in the ability to bring to the earth at very, very deep levels as well as high levels the celestial songs and music that were inspired upon various messengers of music such as Dorothy Lee Fulton, Tom Miller and others. One individual that was supposedly Amadeus Mozart reembodied, Estella Lenchi, has written much of the music some of the simpler but very beautiful music that we sang in the church. So at this point I d like to open it up for questions to Cyclopea that may be on topic, on subject. So you can unmute by hitting *6 and we ll see what the master has to share. Caller #1: Would the Master care to comment on if somebody is learning to be better at singing, how to work on imparting emotion and divine intent while singing or performing? David: The Master says that the motive is always the preeminent quality that suffuses itself through the voice. If your motive is to glorify God, to inspire others to higher heights of spiritual attainment and divine bliss and even if you do not have the outer perfectionment and mastery of the voice, if your motive is to do this, even if you are off key or not perfect in your rendering of the music, that heart motive will come through and benefit the lifestreams of those who hear you. In other words, it is better to polish the heart than to only polish the voice. So the Master says to first be observant of your own emotions, your own intent, and to set them to the highest keying of your being to Godly intent and to love and to attempt to have the strains of sound flow even though they are invoked through the diaphragm, the lungs and the throat to have them go through your heart, resonate through your third eye and even the crown, and then in a spiral see them flowing through a spiral activity in a coiled and resonating frequency unto the Great Central Sun whom you always adore first. Sing to the Great Central Sun first and foremost because even though you may want to inspire others, there can be ego in attempting to inspire others through your own voice. And, therefore, the only one you need to truly inspire is God. And by directing your love to the Great Central Sun, there is a wave and a frequency through which your heart s devotion and the e-motion that flows through your heart will be purified and will glorify the Divine. So direct the stream of the flow of the sound to the very center of the heart of God. And seek simply and only to love and to glorify the great Beingness of the Almighty of the Source in all that you do. After you see this as the first and foremost of that which you must do, then through inspired trainers, coaches and teachers, be obedient to their methodologies, work assiduously on your voice, take time each day to do deep breathing before you begin singing. [Do] pranayama, warm up through yoga or exercise to build up your lungs and 3

4 the capacity of your lungs to hold both air and fire and through a disciplined diet and all of the various virtues that we are always trying to outpicture in our spiritual work. Once you have reached a certain level of equilibrium, of balance and harmony in your being, then your voice will carry that equilibrium and balance and harmony in a greater and greater spiral as you perfect the methodology of singing on key, on pitch, in harmony with others in choirs or in a solo atmosphere, in a way that is becoming of who you are. Choose songs that uplift and are not just for entertainment because you have to consider the vibration of the composer that that composer was in at the time that the music was composed. If it s a composer that was engaged in spiritual work and they may have been going through trials and temptations themselves but saw themselves through these and overcame, often aspects of that overcoming flow through the elements that they incorporated into their composition, and you can hear the great crescendos and the victory spirals through that rendition of their composition. And so the Master says to be careful what you sing because you recreate a certain aspect of that composer s awareness and consciousness that was there at the point during the time period when that was created when you sing their music. It is almost better for some people to avoid the works of composers that they know nothing about or who were not spiritually inclined and to create your own music and sing to your heart s content what was inspired upon you at any given moment point in time because as you are a discipline or a holy brother or sister, an aspiring master, an adept, then you can receive directly from your Source divine composition. You have to have a listening ear and a listening heart to be able hear [it] or to create [it]. But any of us can do that whether we are trained or not in music. So first is the motive, polishing the heart and then being obedient to our teachers, gurus, trainers, coaches, being disciplined. And it will come if you are constant. You can not get there through lack of constancy. There must be a continuous stream of activity through constancy to master technique and all that is required to deliver to the earth and to God the highest of ourselves. This is why what Gilles has shared tonight is wonderful because sometimes it is only in physical proximity day after day that we come into interaction with others who help to rub off the rough edges of ourselves, our ego identification. And we learn to harmonize ourselves with many lifestreams and to come up higher on our spiritual path. If we are only dwelling in a cave or by ourselves and never interact with anyone, it s difficult to really have the full picture of what, in the full mastery of ourselves, we gain through interactivity and through community. So consider, if you are a soloist, singing with another or with a chorus or with a choir because you will learn a lot about yourself, you will have to be obedient in the context of singing under a director or conductor with others that will help you to gain greater mastery in compassionate communication and understanding each other and harmonizing. So do we have another question. Caller #2: I would like to know if Cyclopea could help us with breath and understanding how we breathe. 4

5 David: He says to consider yourself one with God first and allow God to breathe through you. And listen to the heart of God and the lungs of God. We have heard much about the heart of God, but have we considered the lungs of the Divine One and of how breathing utilizes these sacred sponges as well as the diaphragm in drawing forth into the being the very prana, the life essence, the chi of our Higher Self as ether and energy and then letting it wash through and course through our being and then breathing out the waste and then beginning the process again? So you can invoke the lungs of God, the diaphragm of God, the heart of God to be superimposed over you to learn higher pranic breathing, a fuller fire to permeate through your being. And once you have done this and really experimented with it and tried to hold your breath longer and longer each day a little bit without straining yourself to the point of losing consciousness but of extending and expanding your lung capacity and for those who have taken voice training, knowing how to breathe through the diaphragm and holding your hands on your sides and feeling where the breathe goes and how it needs to flow out and how there s a certain tension at various times and then a release and how you can actually very quickly breathe in when you need to and how you can hold your breath in certain ways and expand your breath and how vibrato can be experienced through an oscillation of the voice, all these things you will learn through taking voice training from a trained teacher. But first, attune your breathe, your heart, your lungs, your diaphragm with those of the Divine One and breathe in congruence with and in harmony with the Almighty. Listen to the breath; listen to your own breath. Breathe out in nature. Monitor yourself. Even take your heartbeat. And consider your diet. Watch your diet so that you can have greater breath. Exercise. For some people go on long walks, do yoga, even gentle jogging not the strenuous type of running that could be hard on your knees and legs, depending on your age. But exert yourself such that you can expand your capacity to hold air and light. And see what this does for your spirituality, for your ability to hold the divine frequencies of light within your being throughout the day as well as while you re singing. And see the breath as the preeminent thing that you need to master before the voice is trained to sing on key, on pitch, etcetera. If you can master the breath, the holding of the breath, the expansion of the breath, etcetera, that will be a very huge key for you in learning how to sing properly. And for those who play instruments you know exactly what I am speaking of because often times when you play especially the woodwinds or any of the brass instruments or those who use the breath, you know how important it is to master your breath to know when to breathe, how to breathe. And oftentimes you have long discourses of sound that must come through your breath through the instrument that you are playing and you have to learn how to take the small or larger breath. So breathing is a sacred science in and of itself, and we could have an entire class on that. We have now reached the end of our class tonight. Beloved Cyclopea places his hands upon and over both eyes and your third eye as a blessing to each student tonight. And he takes from you images that are less than your reality that you have held for yourself in this or past lifetimes by your permission. He takes them and casts them into 5

6 the flame and places within your third eye a single emerald crystal jewel of light as an electrode of cosmic energy for the victory of your self-realization in higher consciousness. Copyright 2009 The Hearts Center. All rights reserved. All messages released through The Hearts Center are copyrighted, but we encourage you to print and share them with discretion with heartfriends throughout the world. Bracketed words have been inserted for greater clarity with the approval of the dictating master. Short excerpts may be quoted as long as full credit is given to the author. Contact us at Correspondence and contributions may be sent to P.O. Box 277, Livingston, Montana USA. 6