A Quote by Frederick Lenz

Humor is the balance of the tonal. Within the tonal you've got reason and humor. The two balance each other so that the tonal can accept and understand the journeys into the nagual.
I examine each student carefully: Is there a balance between their tonal and their nagual?
Our peasant music, naturally, is invariably tonal, if not always in the sense that the inflexible major and minor system is tonal. (An "atonal" folk-music, in my opinion, is unthinkable.) Since we depend upon a tonal basis of this kind in our creative work, it is quite self-evident that our works are quite pronouncedly tonal in type. I must admit, however, that there was a time when I thought I was approaching a species of twelve-tone music. Yet even in works of that period the absolute tonal foundation is unmistakable.
Your tonal must accept that the nagual exists and that it's beneficial and healthy.
In the training process, the teacher addresses two sides of your being. One is the tonal and one is the nagual.
Whenever you are in the world of the tonal, you should be an impeccable tonal; no time for irrational crap. But whenever you are in the world of the nagual, you should also be impeccable; no time for rational crap. For the warrior intent is the gate in between. It closes completely behind him when he goes either way
When you can command the nagual you have a great deal of power, and people know it intuitively. They feel if they can plunge themselves into the nagual they can get anything they want in the tonal.
I like the way that Dexter mixed humor, dark humor and tragedy, in a way I don't think that I've seen another show do. To handle those tonal shifts with so much confidence. Normally, you can mix humor and dark humor, you can mix dark humor and tragedy, but to mix all three... There are just moments with Robin and Reuben, the next door neighbors, that are just funny.
Even today, I notice that some of my pieces are explicitly tonal; there are actually tonics and dominants. And then there are pieces that are not tonal. I tend to think that there's a dichotomy that has to do with the way pitches are structured.
The siddhas are developed through the tonal, not the nagual.
There are two sides to a person's being - the superconscious and the conscious. These have reverberations in the popular works of Carlos Castaneda, in the don Juan terminology of the tonal and the nagual.
The nagual doesn't give you the ability to get what you want in the tonal.
Thought is the ultimate tonal. Each thought is like a dike that blocks out the nagual.
Don Juan speaks of the island of the tonal as something that's in the middle of the ocean ... the nagual.
In the world order, if the nagual dominates and not the tonal, then we'll live in times of fear and superstition.
In no way can words convey the nagual. But they open up the possibility. They allow an admission on the island of the tonal.
My humor tends to be a little more edgy than is appropriate for 'Twilight,' although I got some in there. That was fun! There's just a tonal difference. For me, storytelling is storytelling. But, I do like writing for grown ups.
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