A Quote by Walter Russell
The beauty of a piece of music is not in its technique but in the Soul of its creator; nor is it in the
sound vibrations of the piece but in the silence of the Light from which the sound springs.
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Music is sound, vibrations, whereas paintings are vibrations of whatever you pick up. It's not actually an energy vibration you get from a groovy painting, but music and sound seem to travel along vibrations, you know the whole thing with mantras is to repeat and repeat those sounds... it's vibrations in everything like prayers and hymns.
If sound is music and came from silence, then silence is potentially greater than sound. If the sound is effective, it should actually have a chemical - some sort of physiological - effect on the listener, so he doesn't have to hear that sound again.
Every Bass Communion track is based on a single sound source. Increasingly I find that I'm really interested in taking a particular sound and it's almost like solving a problem. If I have a sound, the problem is how can I create a piece of music from this one sound source?
It is a real piece of art if you can make a waltz sound like it is the easiest piece of music to play, because it's really not.
Music is the celestial sound, and it is sound that controls the whole universe, not atomic vibrations. Sound energy, sound power, is much, much greater than any other power in the world.
It becomes evident that when the Life-power awakens its mysterious activity at the beginning of a cycle of manifestation those vibrations which we recognise as sound come into existence before the more rapid pulsations of electricity and light. Thus modern science confirms the ancient occult teaching that sound is the root of physical existence. 'It is out of Sound that every form comes, and it is in Sound that every form lives.
Modern science agrees that the universe consists of vibrations, but sound is more than vibration. Distinct from white noise, sound is vibrations in harmonic proportions, and from the billions of vibrations that are possible, the universe shows a startling, overwhelming preference for the few thousand that make harmonic sense.This is because the One, from which all things issue, is beautiful.
We live in succession, in division, in parts, in particles. Meantime within man is the soul of the whole; the wise silence; the universal beauty, to which every part and particle is equally related, the eternal ONE. And this deep power in which we exist and whose beatitude is all accessible to us, is not only self-sufficing and perfect in every hour, but the act of seeing and the thing seen, the seer and the spectacle, the subject and the object, are one. We see the world piece by piece, as the sun, the moon, the animal, the tree; but the whole, of which these are shining parts, is the soul.
Then star nor sun shall waken, Nor any change of light: Nor sound of waters shaken, Nor any sound or sight: Nor wintry leaves nor vernal; Nor days nor things diurnal; Only the sleep eternal In an eternal night.
We do not fight for the real but for shadows we make. A flag is a piece of cloth and a word is a sound, But we make them something neither cloth nor a sound, Totems of love and hate, black sorcery-stones.
If music is sound & came from silence, then silence is potentially greater than sound.
Probably my favorite piece of music, as an album taken as a whole, is Bruce Springsteen's 'Greetings from Asbury Park.' I just think it's incredibly pure. It's a sound that sort of broke new ground, and I think it paved the way for a hundred people that sound very similar.
Silence is Golden; it has divine power and immense energy. Try to pay more attention to the silence than to the sounds. Paying attention to outer silence creates inner silence: the mind becomes still. Every sound is born out of silence, dies back into silence, and during its life span is surrounded by silence. Silence enables the sound to be. It is an intrinsic but unmanifested part of every sound, every musical note, every song, and every word. The unmanifested is present in this world as silence. All you have to do is pay attention to it.
There's very little to be said for learning a piece note by note, reading the rhythmic markings, practising the fingerings and following your instructor's suggestions, if you haven't any idea how the music will eventually sound and feel. If you learn a piece mechanically, you may have to 'unlearn' it before you can play it with expression and feeling.
There should be no boundaries in your relationship with sound. Often it's not about the music itself but the context in which you hear the music. For instance, listening to a piece of classical music in a film you love often changes your perception of it entirely.
Music is pleasing not only because of the sound but because of the silence that is in it: without the alternation of sound and silence there would be no rhythm.
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