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AH Member Writings : Jess Last Updated: Jan 15, 2018 - 6:46:38 AM


The Infinite Harmony and Retuning the DNA Frequency
By Jess Anthony
Dec 1, 2009 - 1:54:00 PM

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The Infinite Harmony and ReTuning the DNA Frequency

I suspect I may be known primarily for the messages I have been posting and for the direction that has taken as a voice for Esu particularly. Before this began, however, I had a epiphany back in 2001 for a direction to pursue in healing and the arts. The fascinating article just posted on Russian research into DNA scientifically confirms for me much of the process I heard to formalize, and I felt it would be an interesting corollary to post my own exploration into sound frequency and healing.

The link here to an updated version of the article is http://abundanthope.net/pages/Environment_Science_69/Groundbreaking-Russian-DNA-Discoveries.shtml

Almost twenty years ago when I was more actively performing,  I found myself drawn to massage, although my interest at the time was more in finding ways to improve physical relaxation and increase the control I had for performance technique. As I discovered how my own body was reacting, I became interested in the creative possibilities I saw in bodywork. I explored the Body Electric approach, and I also studied a method of vibrational healing developed by Fabien Maman and the Tama-Do Academy that involved using tuning forks and colored lights while working on acupressure spots. Their web link is http://www.tama-do.com.

What has come to be the Infinite Harmony Re-Tuning Process was triggered about ten years ago when a friend told me she was receiving channeled messages about a bodywork process I specifically was supposed to know about. She began outlining the process elements for me initially in a series of sessions; at the same time I began developing my own ability to hear guidance. As I learned to receive my own messages, I was told that, in fact, I had developed the elements of this process myself many incarnations ago as a way to use the arts for individual rebalancing. In reformulating the process, I called it The Infinite Harmony and named the basic energy work Re-Tuning the Aura. This is described further on my own website at www.theinfiniteharmony.com. The physiological method used in the process is exactly the sort of sound and frequency work described by the Russian researchers, taken to a broader spiritual level.

Re-Tuning the Aura balances the vibrational patterns of the client's physical, emotional, and mental etheric layers. These three layers of the etheric body are the slower vibrations of a total of seven layers, and are the ones that have the most direct impact on the energy chakras inside the body along with the physical manifestations that result. The Re-tuning process uses selected music, colored lights, and fragrances to affect the energy levels that surround the client, and couples these stimuli with hands-on touch similar to the method Reiki uses to channel the vibrations directly into the client’s chakra system. These combined energy sources form a composite of different speeds of interacting vibrations for the unbalanced client. This combination, in effect, entrains, or re-tunes, the energy in the client, causing the body to shift its existing vibrational pattern to one that matches the balanced patterns that are being placed around it.

This process is ideally carried out in a series of eight sessions that take the client through a range of colors highlighting the different chakra areas. The colors are paired red-green, orange-blue, and yellow-violet, followed by white and gold. The client chooses a color and the second follows in the next session. The choices have to be one of the six colors at first, with white and gold following after the six to cap off the movement through the spectrum. Each chakra in the physical body reacts particularly to a different color, and the complete balancing process here ultimately creates a grid of energy colors affecting all of the client’s major chakras.

To accompany the color selected, the client also chooses a particular sound from a list of natural choices that fall into the four main categories of etheric sounds, natural sounds, movements or professions, and emotional states (stuck things). Each of these sounds within the categories has its own vibrational personality based on distinctive wave patterns, and the physical body resonates when the client hears versions of these natural sounds. In some situations, it is difficult to find a recording of a particular natural wave sequence, and these vibrational patterns can be evoked with the sounds produced by a specific composer’s music. The composer’s music will become a substitute for the natural sounds. If, for example, your higher self tells you that you need to hear the sound of rain to rebalance your own vibrational pattern, you could listen to rain, or you can listen to Mozart, whose music embodies the vibrational personality of rain.

The individual nature of different compositions affects each client differently, because each selection of music connects with a different set of emotional memories in each listener. The genetic make up of each individual is created with a distinctive vibrational pattern that is uniquely theirs, and their emotional library is, in part, an accumulation of impressions that result when their specific vibrational personality interacts with other vibrational patterns it comes in contact with. Hearing a piece of music sets up an interaction with the pre-existing program. Re-Tuning the Aura is designed to use appropriate music to rebalance a system that is unbalanced.

These four categories of natural sounds were initially channeled for me, along with the corresponding composers that match the nature sounds. Although I was presented at that time with a formalized list, I have since been told that it was I who arranged for all the specific composers to incarnate at various times in history to compose music matching a specific vibrational personality. The music selections chosen for the list generally were written by Pre-Twentieth Century composers. Contemporary music tends to be either thematically fragmented or intentionally designed to be manipulative.

The following is a message my friend received back in 2001:

“Colors (purple to red) [as well as] sounds in scale of pitches (C to C) are arranged in series of increasingly fast energy vibrations; color vibrates much faster than audible pitches, but both are energy.

Bodies are also made up of vibrating energy. Traditionally the body is viewed as having an
“energetic system (chi)” and a “physical system” comprising the body’s organs. This can be simplified into a network of energy being released through vibration.

When two different speeds of vibrational energies are brought next to each other, they begin to vibrate sympathetically
“in tune” at the same speed.

The body gets the information that determines vibrational speeds from outside sources. Man is more balanced hearing natural sounds because they are more
“in tune” with the body’s genetic vibration pattern. Man-made sounds are often intentionally at cross-purposes with the body’s preferred state. This type of input in essence feeds the body’s vibrations improperly and creates unbalanced patterns that become programmed in.

Vibrating light waves are similar moving energy. They tune with the body in the same way as sound, but more immediately and more intensely because of the much faster rate of vibration. Like different types of sounds, the different colors of light produce different kinds of interactions with the body because they are vibrating at different speeds. The wide range of the color spectrum causes a wide range of physical reactions. Red releases much more energy as part of the process.

Colors are assigned to particular individuals because their current state parallels the speed of vibration that color brings. Since colors range from slow to fast in tern of wavelength vibration (purple to red), it is logical to assign a particular color at a specific vibrational speed to an individual. High-speed individuals are red; slow-moving individuals are purple.

Natural Sounds are assigned to particular individuals because their current state lacks the input that particular speed of vibration will bring. They are out of balance
—either too fast, or too slow. The new sound vibrations cause the body to begin tuning to its balanced pattern.

The colors provide intensified contexts for the sounds to begin re-tuning. The light and sound vibrations tune as they tune with the individual
’s vibrations.

Certain composers embody certain natural sounds in their compositions; their music is a reflection of their own natural state. Music by these composers—even
specific compositions—can substitute for the natural sounds. However, it is important that the intention of the performer parallel the statement the composer made through his music. The performer must be in tune with the composer through the music to, in turn, re-tune the listener.

By re-tuning, the individual changes as toxins are released. As a result, the prescriptions for needed sounds change. Ultimately, an individual determines what their own unique song is that creates their own balance and lightness and is able to produce their own balancing music.”

[Initial Comments heard on Aura Re-Tuning on 5-24-02]

In a treatment, a combination of the spectrum color vibration selected and the composer/natural sound vibration pattern chosen works together as an agent to adjust the vibrational imbalances present in the client. The re-tuning adapts the patient
’s body to the new frequency, causing the client’s unhealthy vibrations to synchronize with the healing vibrations being introduced. The selected color and music package is a means to release the toxic memories from the patient’s database.

This approach works because it is the patient
’s inner child who controls the memory database—which controls the physical body—not the intellect. The patient should NOT KNOW about this process intellectually (necessarily). The sound of the music chosen and the color being used with it delights the child, who in turn joins in with the “play” by going on a journey with the music. The child won’t be attracted unless the music is appealing to the child. The color and music selected are a means to release. The patient cannot hold on to intellectual thought and release at the same time. Release happens when the patient does not think. It’s all about letting go.

Divinity does the rest of the work. The color/music initiates release by taking the child where the child can let go. Neutralizing can take effect AFTER the letting go. Thoughts that are still being held on to cannot be neutralized. We don
’t control either neutralization or TRANSMUTATION, which is the next step after neutralization. Transmutation is the action that erases the thoughts and brings them to the Light, where the newly-cleaned thoughts are stored up as Divine Thought, and later parceled out by Divinity at his discretion. The whole process is completely and utterly dependent on D’s authority and discrimination after the fact of release.

From a list provided by the therapist, the patient first chooses the particular color they are drawn to. Second, they choose a sound category they are drawn to (etheric, natural, human expressions, emotions) and then an item on the list within the category they have selected. Each item has a composer or specific natural sound associated with it. The composers listed under the different categories embody those sounds in their music (e.g. Beethoven
’s music is the embodiment of “elephant”). The essence of the all the compositions by that composer embodies the unique vibration of their associated natural or manmade sound, although some music is more appropriate for the relaxation necessary in a therapy setting. Incidentally, all the composers individual music also has its own natural color vibration (e.g. Beethoven’s music is pink).

The therapy proceeds with the patient listening to the appropriate music for their selection while relaxing in the light they have selected. The massage therapist works on the patient intuitively, adapting his or her modalities to the patient as required by the energy pattern generated by listening to the selected music. The music plays for the whole session.

The patient cycles through complimentary color pairs in a series of sessions. For instance, blue to orange, purple to yellow, red to green, if that is the color schedule selected. Then white. Then gold. Then start over, veering to the next color that calls to you and then its opposite, and so on. Stay with colors and compliments @ two weeks a pair for six weeks. Stay in WHITE for one week. That
’s seven weeks. Stay in GOLD for one week for enhancement outside the cycle.

Then start the eight-week cycle again, going to the color of the pair you choose next.

You can choose indigo for either blue or purple. You can choose magenta for purple or red. You will know which
“feels” right.

You put ice blue around the color for protection, even if you
’ve picked ice blue as your color.

Reiki Touch

 The hands-on part of the process is adapted from the Tama-Do “extra points” process I learned in France from Fabien Maman. This is an extended chakra balancing layout with additional places on the body connected to the basic back and front chakra areas. The therapist rests or her hands on these energy points two at a time beginning with right hand on left ankle and the left on the back of the knee. The hands remain in that place until the circulating energy feels balanced. The therapist then moves to the next spot, placing the left hand on it and the right on the previous left hand spot. The hand positions are reversed on the right side of the body. The process moves up the back side to the crown first and then the client turns over. The front side starts at the crown and reverses the process, bringing the energy down through the front chakra points to grounding below the feet. This happens while the client is lying on the table in the chosen colored light with the selected music playing. The three levels of vibration each work together to balance the energy of the client.

Here are a couple of additional paragraphs I heard later where Christ Michael was discussing music. I was trying to understand the impact music had for me.

12-12-02

What is music?

Music is the relationship of the universe. It is light. It is vibration. It is energy moving. That
’s why it is recognized everywhere, at least in its basic language. People choose to be musicians because they want to impact with the world and cause it to communicate and link. Music makes people want to join together spiritually. Music causes peace. Music allows the listener to release and listen even more deeply. Music causes people to bond. They merge their being into one energy, My energy. The energy of the universe. It is a language that gives direction how to do that. And the child takes over and makes it work. And a little child shall lead them. You know the phrase? The child is playing music. There is not a higher spiritual calling than being a musician. Because you understand how this works on some intuitive level. Because you are a child. And the child wants to be nourished.

1-20-03

[I had read an article on a composer who had assigned different pitches to DNA sequences and had constructed and recorded music based on physical patterns. Again, this anticipates the comments by the Russian DNA researchers.]

Interesting article on the music of the DNA sequences. Is that the genetic basis for music?

Ah
… music is genetic and inborn. Vibration is the key to unlocking the treasure chest. The different sequences in the code are templates for recognizing melodies and harmonies in present day music. Patterns in music relate to chemical and genetic strains within the human body. You react emotionally to certain music because you relate the line and shape to patterns that determine specific physiological states and conditions in your makeup. You feel music inside you because it parallels your structure. You recognize it on some level through its vibrations. Re-Tuning the Soul is acting on the body at its most basic components. The music chosen speaks to the parts of the client that need to be addressed. Some part of the client understands this and causes them to choose what to listen to. The music is carefully selected to activate these strains within the client.

You understand what music to play for the client because you intuit what the client
’s choice is asking for. The music phrases are also working on the genetic level. That’s why you have a different phrase each time you work with someone. It doesn’t matter how far away the person is that you are working on. The vibration doesn’t stop. Just as you have intuited what they need from the vibration they are sending you, so are you impacting them with the music and the energy circuit you are setting up for them. Ask them and you will be surprised how they are affected.




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