essential spine & nervous system healing

I had intended to write about B the crown and then G the thyroid and thymus to complete the Celestial Energies but I am diverting to C#/Ab and A#/Bb of the spine and nervous system as I am being directed to explain these much sooner than I had intended. Much like a Sound Healing session itself, my desire to follow a logical sequence is not always what is required and so I will go with the flow I am being guided towards.  Did the naked man draw you in? Shameful use of a cock for attention, sorry.

A Sound Healing session begins with me searching a client from behind their body to discover the placement of the openings for each of the 8 energy centres. I used to call them chakras but that is only partly right. The body contains 12 pitch holes or energy centres. This much I have always understood, 7 chakras but with 8 pitches (the heart having two) and four minor chakras or meridian points. But it is less clear that those other minor pitches are indeed minor at all. These pitches G and Eb/D# are for glands such as the thyroid, thymus, pancreas, adrenal glands plus the liver and kidneys. How they inform the body through energy centres and meridians is connected through the spine and nervous system C#/Ab and A#/Bb and also includes other pitches B, C and D to build up a full picture of the endocrine system. 

The sluggish nature of many agues and troubles is due to the energy centres not resonating in the correct area of the body. The most striking thing that I am regularly noticing is how when one centre has moved to the wrong area another pitch will shift to ensure that the body has some kind of energy function throughout. Most surprising however is the ability of some energy centres to resonant outside the body entirely in the auric field. This is a total surprise as the usual way this works is that I sing and the client’s body amplifies the pitch at the point of the energy centre’s opening. So to discover that an area entirely outside the physical body is able to amplify my voice when there is nothing there but air seems a lot far fetched but I am experiencing this more and more.

The two notes of the spine and nervous system in combination are so much more important in healing than I previously understood. They run the entire length of the body from the brain and along the spine and then down to the coccyx before running deep to the soles of the feet unlike all other pitches that are fixed in the body. When balanced the spine and nervous system pitches create a musical super highway that is the tarmac all the other notes spin upon. The C#  open and resonants along the entire spine while the A# is buried deep inside the head. This C# then slides down the spine only to fill out like a bass woofer speaker in the pelvis and down the legs to the feet when I glissando down to the A#. While performing this vocal slide it is possible to hear/sense minor blockages that interrupt the smoothness.

With all those reflexology points and nerve endings down in the feet I’m not sure why I hadn’t realised the importance of these two pitches sooner.  However I’m still developing a stronger understanding of how this vibrational healing works with every session. I am beginning to work out small melodies and tonal groupings that are helpful in seeking total balance. Agues and pains are rapidly being mapped out and corrections and clearance of blockages is becoming clearer all the time. 

This spine and nervous system energy flow reminds me slightly of the Yogic practise and theory of Pranamaya Kosha. This is the second of five sheaths or shells known as Kosha. It is this Kosha that distinguishes the living shell from the dead shell. Pranamaya Kosha is said to exist throughout the physical body and flows to the whole organism in the form of Prana. Prana flows through nadis, or energy channels in the body. Yogis believe there are tens of thousands of nadis that make up pranamaya kosha. I understand that with my voice I am only dealing with 12 major energy channels but through the additional use of harmonic frequencies, vowel changes and pitch bending I can further influence the physical and subtle energy bodies to address the clarity of Prana or energy flow as a frequency and then create a balanced flow throughout the entire body. Blockages in the more static pitches are addressed first then any gaps in the harmonic sequence are patched back in.

The C root note of the bones and pelvis is often found wandering about the body. It is quite common for many people not to be very grounded. But to break into the thighs and find a bass note to lock the sound down the legs is extremely tricky sometimes. I have begun to find excellent results from using a three note melody to encourage the sound to open by combining the the C note with the two spine and nervous system notes C# and A#. By toning these close to the bottom pelvis and legs it is possible to encourage sound to the feet of the client. The sequence is C# – C – A#. The really interesting thing is than when moving from the C# to the C it is easy to open the thighs and maximus gluteus (arse cheeks). But then singing the C on its own, it again refuses to open to the sound fully. So the melody is an assured winner. This has yielded stunning results on lower back pain, sore coccyx and sciatica too. It is essential to get sound energy to flow to the feet as often when we look at diagrams of the chakras all the coloured energy centres are in the body and the legs seem to benefit from nothing at all. So focusing on this grounding effect is exceedingly important to health.

Today I extended this melody for a client to include the D#/Eb as it was needed to build balance in a client. So melody and tunes are beginning to matter more and more too. This means clients can record the sounds and take them away to help meditate and find focus at home to continue their healing journey.

The spine also helps to identify small hiccups and minor blockages that do not show up when the other energy centre notes have been aligned. I have corrected and balanced upper body celestial centres only to then discover a small dint in the vocal flow of the C# to A# slide. This small dip in vocal clarity can mean that the energy centre I believe to be open and back in place is trying to spin with a pebble waiting to knock it back out of alignment. So getting the spine clear of any vibrational gravel is essential if a Sound Healing is to last at all past the first restful night’s sleep.

One of the more obvious signs of trouble in the spine or nervous system is when a client has back pain. This will also present itself as pothole in the C# – A# pathway. This requires a different approach that begins with the other notes in the area around the pain centre. All energy centres need to be cleared and balanced before the spine will allow the smooth movement of pitch to be established again. This will often mean getting the A# to flow down the legs alongside the C. Without the full length body connection the spine, will not allow the smoothing over of the painful joint. It is worth looking at a photo or model of the spine to observe just how thick it becomes closer to the pelvis so that when you sing in this area you can focus on the vertebrae to give the correct intention to the area being treated with the voice. Also remember that the spine contains fluids and the spinal chord. When using frequencies to correct imbalance it is essential to understand what is inside the body so that you can create the correct intention to allow the voice to shape itself to the pattern of the affected the area correctly. 

I must end this blog before it all gets too deep and more notes are added to the melodies to create a Endocrine Symphony. I am only scratching at the surface but I will keep posting all the new things I learn as I learn them. The best part is that balancing the 12 notes facilitates a healing even though I’m not always sure why. But I so need answers to any mystery so stay tuned as I will get to the bottom of everything eventually.  

How not to fix a problem with the spine, ably demonstrated in Florence.

Header picture: Carlos Baca-Flor 1886: Able muerto – The Dead Able – Lima.