I believe that our bodies have the innate ability to heal themselves. This is true of our physical as well as our spiritual bodies, which exist and operate across various interconnected levels.
My experience is that vibration is a catalyst for healing, as it forms the very core of our Being. We receive and release vibrations every day, and their effects begin taking shape immediately. Think of a time when something that someone said instantly made you smile … or frown … or react by saying something in return without thinking … or suddenly sparked an idea you’d never thought of before. This is testament to the power of vibration, particularly vibrations from our vocal cords, and when aligned with intention it is a powerful instrument for healing.
My calling is to use my voice and the Language of Light to assist others in facilitating their own healing and growth.
The call of Light Language in my life
As a human being, I guess you could say my primary motivation for “living this life” is a desire to see through the veil of illusion blocking us from the true-ness of each other and separating our perceived 3D world from that which is Beyond. Accessing Light Language and allowing it to come through us is one way that we’re beginning to interact more consciously with other levels of awareness. It gives me great joy to see this happening.
I chose to make Light Language part of my life and my energy healing modality because of its transformational nature and because I was so drawn to it from the moment I first heard it spoken. I was fascinated with the sounds, and my spirit felt alive with energy in hearing it. I quickly felt the need to know more about it, and, ultimately, to learn how to access and use it through the help of great teachers.
Music is central to my connection with the voice and Light Language
I’ve loved the feeling of harmony ever since I was a kid. I always sang with my family and did plenty of musical things growing up.
When I took violin, my teacher would sometimes indulge me and allow me to make up a harmony part on the spot as she played the melody. I don’t know how great it sounded — in fact, I imagine I was pretty screechy given my aversion to practicing — yet it gave me confidence in creating my own part related to a larger musical framework.
This same feeling is what I still love to create and cultivate in my work of supporting others through vibrational healing.
Singing, toning, and use of instruments with the voice comes pretty naturally to me, even though music was not my formal degree of study. I have a “reorganized” version of absolute or “perfect” pitch, and I mention this strictly because it’s an ability that I use when relating to any musical tones (thus an inherent part of my work). Into my mid-twenties, I could produce pitches of the Western 12-tone musical scale in standard 440 Hertz tuning without fail and could identify to what degree a note I heard was sharp or flat of that tuning system to about an eight of a step. I can still do so with a good amount of accuracy, but more recently my ear has started to drop by about a quarter of a step from regular tuning. What this means is that I am now more likely to hear a note sharp or produce a note flat from where an instrument would produce it in the 440 standard (if you have played in a band or sung in a choir, the instruments in your experience were quite likely tuned to the 440 Hertz equal temperament standard).
This shift in my pitch was really disorienting when it started to happen — in fact, it freaked me out and I had to cope with what was like losing part of my identity! I have, however, begun to adjust to the difference over time.
In my vibrational therapy work, this means that I will often tone on notes that do not match standard tuning. This has some parallels with the slightly lower 432 Hertz frequency and what some see as its virtues as a “lost” standard for tuning. I do not personally believe that 432 is the whole answer, nor is any exact Hertz frequency as a required starting point. I believe that what is “lost” has more to do frequency ratios between intervals, and I believe that it can be “found” or rediscovered by our shifting away from such a strong dependence on equal temperament for tuning.
Once I have begun toning or singing Light Language, I find that I often release into the flow such that I don’t really pay attention to the pitch of every note unless there is a particular portion of the transmission that strikes my curiosity or that I want to remember for reference afterward. I am more likely to pay attention to the scales I’m moving in and how/if they relate to any key signature. Sometimes there really is no relation. The musical aspects of Light Language are not bound to rules of music, music theory, or any other methods we currently use on a mental level for relating to the phenomenon of music.
I’ve also experienced noticeable differences in how the voice responds to situations outside of equal temperament tuning, such as when the voice is used in combination with singing bowls or for overtone singing. There are some really fascinating vocal harmonics that come into play. This is perhaps more important to sound work and energetic vibrational exchange than any specific pitch or tuning frequency.
If you are musically oriented in any way, feel free to bring any of this up with me or ask questions. I love to discuss it and find that the exchange is beneficial on both sides.
I’m grateful to be connecting with you here and look forward to meeting you.