> > > > If I listen carefully to the sound it becomes enterweaving
> > > > harmonies which just get better and bigger the longer it goes
> > > > on uninterrupted.
> Yes... that's it.
> It may be noticed that each tone is also made of
> many tones.
> > > While I know you are speaking of the sound current, something
> > > that this reminds me of is the resonance it is possible to key
> > > into when chanting Aum. One of the ways of doing this is by
> > > feeling/listening to the resonance of sound at the heart on A,
> > > the throat on U, and the center of the head on M. The
> > > frequency of sound increases as the location in the
> > > body/mouth moves up. Overlaid on the base tones of
> > > A, U, and M are numerous tones, which appear
> > > in resonance/harmony with the voiced tone. These tones
> > > come 'out of nowhere' - they are not produced by the
> > > voice, but they appear in reponse to the voice. The
> > > first overlaid tone is the most accessible, the second
> > > is less so, and so on. It is possible to climb
> > > the tones like a ladder.
> > >
> > > I am comparing the above and below, and wondering if there is a
> > > connection.
> > The sound I am referring to is heard beneath the audible sound of
> > aum and its resonance. it never stops.
> > Bobby G.
Yes, I understood that. That is why I said "While I know you are
speaking of the sound current..."
> Right. It never stops.
> It is called by some, 'the comforter'.
> In every (musical) tonal scale, each 'up' note is simply
> a multiple of the preceeding note. It does not have to
> be a whole multiple; it can be a 1/4, 1/3, and so on.
> Interestingly, radio-frequency antennas are cut to
> specific length, based on the same principle.
> Anyway, Nina, I am not sure if you are really asking
> anything having to do with the sound current, but
> when we speak of sound, it is all relevant.
No, I wasn't asking about the sound current.
> 'doh rae me fah so lah te doh', it can go forever up or down,
> repeated steps of transformation. To go up, requires
> more energy. Have you noticed that? In other words,
> the first 'doh' has less energy than the last 'doh'.
> Have you ever tried to sing the scale downward?
> The principle Bobby is carrying forward from my
> post, is that the transitions between tones, requires
> work, or if going down, contributes energy previously
> invested. Pretty esoteric stuff, eh?
> Probably the coolest thing you can do with your
> friends, is to sit or stand in a circle, close together,
> and everyone loudly produce exactly the same tone,
> persistently. No cheating or 'creative expressions'
> are allowed! This is done, by pronouncing (for
> example) 'E' as a constant tone... "EEEEEEEEEEEE..."
> This requires discipline and the ability to
> take something seriously!
> When that is under way, one person (the person with
> the best voice control) is assigned to very slowly
> move up in tone, not an entire harmonic, just slightly
> off from the others. This slow shift will eventually result
> in some pretty radical effects. Try it and see!
> The effect produced is called 'the beating of frequencies'
> and is the product of oscillating volumetric displacement
> of air, as the medium (air) cannot hold two identical
> things (tones) at the same time! Whooo-eee!
> If you get really good at this, you can actually cancel
> all of the sound being produced, even though you are
> still producing it! All that remains, is crackling silence!
> This is fun stuff!
I'll try that.
It is also possible, if one is aware of how this works, to "go to"
another's voice, move slightly away from it, wait, and watch as the
other's voice "comes to" one's own voice. In this way, it is possible
to "drag" another's voice up the scale.