This transmission is working with us on learning sacred harmonies and ratios that form the vibrational structure of the Universe.
If that sounds really big, it’s because IT IS!
I was seeing it as guitar strings, which have their own lengths and tension properties to produce particular vibrations (the ancient Greeks wrote all kinds of information on this). They can be strummed together to create chords and harmony, with discord also being possible — or they can be plucked individually to create a series of tones that we might think of as a melody or even a “riff” in some musical settings.
Light Language Keynote Transmission: Universal Vibration
Harmony and melody each have roles in vibrational structures.
Harmony sets the stage for the music. It’s a type of ongoing support for musical/vibrational structures, support being only one of various words that apply. It’s what comes together to “hold” the vibrations as One.
A melody is more like an identity or a specific piece of content. To me, it can also manifest as a strong example of direction or driving intention. (There are many, many ways to look at it.)
Although melody may at first seem singular, it actually has various connected harmonic aspects. Its patterns may seem overt, such as the easily discernible series of tones produced by a solo singer or instrument, yet every melody carries root/latent harmony that is conveyed in the relationships among the melody’s tones, their partials/overtones, and what I will here call vibrational structures that occur in relation to the tones. They resound or “echo” for some time on both the observable (measurable) and energetic (often unmeasurable) planes after the melody has played out.
Resonance and ongoing changes in vibrational structures
The latent harmony can remain relatively constant throughout the course of a melody, or it can vary greatly, depending upon the interplay and resonance of the tones/partials and structures involved. The same is true with more overt musical harmonies that we can hear. All kinds of frequency patterns are at work either way.
I’ve noticed this type of variance in my own work, as I often sing when channeling Light Language.
Sometimes a certain key, scale, or harmonic relationship will establish itself early in the transmission and stick around for several minutes as I allow the Light Language to come through. Other times, the relationships I can perceive may begin one way, then shift to something very different, and eventually come back around to a recognizable point of reference — or guide the transmission to a completely new feeling.
Singing the Language of Light can feel like a cross between smooth chants flowing openly in a resounding cathedral and wild, crazy “alien tones” that don’t make any sense musically or conform to anything the conscious ear can recognize.
…and it can definitely be a wild ride, but a good one. All of it is the Light Language creating vibrational patterns and structures to interact with us as guided by our intent.
The transmission will share more about this with you. Its frequencies will guide you to an experience of universal vibration from your unique perspective as an embodied soul.
Enjoy the Light Language!
PART B: ACTIVATION
To take things further, the Light Team guided me to create an activation transmission for using sacred frequencies. This second, “Part B” transmission is specifically to open us to a higher level of conscious interaction with these frequencies in the creative machine that shapes our world. Use it as a supplement to the main transmission (which is in the YouTube player above) or use on its own, either way.
An additional note: I’ve noticed that quarter/eighth steps and other phenomena unusual to Western ears come into play, which feel like they factor into the harmonics of pitch resonance. I don’t fully understand these yet. I’m trusting that Spirit will continue to teach me about them so that I can write more as I learn. There’s a good information source on my references page pointing to what I believe this may be on a bigger scale: The Myth of Invariance: The Origin of the Gods, Mathematics and Music from the Rg Veda to Plato by Ernest G. McClain. The book is currently out of print, but you more than likely can acquire it used from an online bookseller. It is right now my go-to resource for understanding universal qualities of harmonic ratios and pitch — and so complex in its information that I do not even pretend to understand more than the very basics. Highly recommended. (If I find it back in print, I will update the link to the book.)