HE LOST CHORD Jonathan Goldman

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What is THE LOST CHORD? If you examine the basic beliefs of the different spiritual paths on the Earth, you will find a commonality in the belief that the world and in fact, the univer se was created by sound. From the OLD TESTAMENT, it read And the Lord said Let the re be light . In St. John , from the NEW TESTAMENT come the words In the beginning was the Word.... . In the VEDAS of the Hindu tradition, it reads In the beginning was B rahman with whom was the word and the word was Brahman. The Hopi Tradition tells of the Spider Woman singing the song of creation over all the inanimate forms on the planet and bringing them to life. In POPUL VUH from the Mayan tradition, th e first real men and women are created solely through the power of sound. In anc ient Egypt comes the story of the Thoth, who spoke the names of objects and brou ght them into being. In Polynesia, the Gods blew a conch shell and created life. In the East, divine beings struck a giant gong. On and on, different cultures a nd traditions throughout the world seem to possess within their religions, spiri tual paths, and mythologies, an understanding of some extraordinary primordial s ound that opened up gateways of manifestation and brought forth existence onto t he earth plane. This original creative sound was the Lost Chord. Legends of the Lost Chord continue to exist, hinting of knowledge from long ago of the power of sound that is now forgotten. The Lost Chord a divine sound that co uld heal and transform. In ancient times, some knew of it as the fundamental vib ration that brought forth all of manifestation. Others understood its ability as an interdimensional conduit. The Ancient Mystery Schools of Egypt, Tibet, India , Rome, Athens and other ancient centers taught about this sacred sound. Then it disappeared. The idea of a Lost Chord has intrigued me for many years. What was the Lost Chor d? How could it be created? My original Master s Thesis for Lesley College was ent itled Awakening the Lost Chord and was an examination of different systems of soun d that had been used to resonate the chakras. My novel, THE LOST CHORD, is based on the premise that with the new technology available today, it might be possib le to actually create the Lost Chord using many different frequencies and sonics that were generated by a computer. In the book, these sounds when coupled toget her create a chord that allows the listener to be transported to different dimen sions. Despite the computer generated basis of the Lost Chord in my story, it is my belief that an actual Lost Chord would really be created through the human v oice. From my perspective, the voice is the most natural and sacred of all instr uments--vocal sounds the most powerful and healing of all sounds. THE LOST CHORD recording is both a continuation of the work I created with CHAKRA C HANTS and a totally new synthesis of ideas and sonics designed to explore new are as of the use of sound as a therapeutic and transformational modality. Initially , I was interested in creating the Lost Chord as described in my novel as an inter dimensional vehicle. I wanted to synthesize my knowledge of psychoacoustics and sacred sounds to create a safe and comfortable sonic vehicle that would enable l isteners to travel to other realms of consciousness. As work on the project was underway, it began to take on a life of its own and undergo changes. What began as an experiment in creating the Lost Chord became, additionally, a journey thro ugh the chakras and through the Tree of Life a focused sonic journey through speci fic energy forms and planes of existence for healing and self transformation. It has always been my great interest to examine sacred sounds from the many vari ed traditions on this planet and compare them. I have done this, not to find the ir differences, but to find their commonality. It has always been my belief that sacred sounds stem from one source the Divine and that the truly resonant waveforms

of the sacred could sound together in harmony, despite any differences in their spiritual traditions. With CHAKRA CHANTS I combined many varied systems of sound that worked primarily w ith the Hindu perspective in order to resonate the chakras. With that particular recording, I included a specific keynote, frequency, chanted bija mantra, sacre d vowel sound, elemental sound, shabd yoga sound and instrument. CHAKRA CHANTS was an experiment no one had ever combined these different systems together. Most fre quently, these sounds had been utilized individually a specific mantra for a chakr a or a specific tone or a specific vowel would be sounded. They had never been c ombined and recorded. Truthfully, I was not sure of the outcome. I trusted they would all work together, but until the project was completed, I could not be sur e. Then after the recording was released, and response from people began to mani fest, I realized that indeed my initial belief was correct. The different system s not only resonated well together they actually seemed to enhance each other. Sin ce that time, it has been my great honor to receive much extraordinary feedback from people who have been able to utilize the recording to help them achieve hea ling and heightened consciousness. I give thanks. As THE LOST CHORD evolved, I realized that what I wanted to create was very simila r to CHAKRA CHANTS and yet also very different. Like the first recording, I wanted to take listeners on a journey through the chakras. But I also wanted to do muc h more. I wanted to use some of the same systems as CHAKRA CHANTS , but also utiliz e new and varied material, as well as new information about sound which I had un covered. In addition, I wanted to bring in additional transformational energies-particular Hindu and Tibetan deities invoked through specific chants, Pythagore an and other sacred intervals and ratios, and one more element the Kabbalistic Tre e of Life. As I have stated, it is my belief that the different sacred sounds on this plane t, regardless of the spiritual tradition, can resonate together, and infact, enh ance each other. This well may have been the original Lost Chord. It may be that the combination of sacred sounds from different paths is indeed a reawakening o f the Lost Chord. We trust you will enjoy THE LOST CHORD and that it will assist i n your health, balance and personal transformation. Incidentally, these are fairly extensive liner notes regarding many aspects of t he creation and use of this recording. While reading them may enhance your under standing of THE LOST CHORD , reading them is by no means necessary for the enjoymen t and frequency shifts experienced by listening to the recording. HOW TO USE THE LOST CHORD Sound is multi-dimensional it effects not only our ears, but also our body and bra in as well as our mind and our spirit. The different sonics chosen for THE LOST C HORD are sacred sounds that may heal and transform the listener. These sounds may also bring about deep states of heightened consciousness and allow travel to ot her planes of consciousness. This recording is multi-dimensional. It was created with a number of different purposes in mind. First, THE LOST CHORD may be utilized as a tool for chakra resonance. It is helpfu l when listening to focus your attention on the related chakras as the sound for that energy center begins. Second, THE LOST CHORD may be used as a sonic environment for creating sacred and healing space during subtle energy work and bodywork. It will enhance any healin g work being done. Third, THE LOST CHORD may be used as a background with which to chant and tone a long. These liner notes describe in detail the chants that are used. If you wish

, you can create a co-active sonic experience in order to facilitate greater bal ance and harmony within yourself. At the conclusion of these notes is a listing of many of the sounds found on this recording. Find yourself a sound that you li ke and then repeat it during the recording. You might choose a vowel sound or an angelic name or a mantra. Work with this mantra during the different sections o f THE LOST CHORD . Fourth, THE LOST CHORD may be used as an interdimensional conduit in order to trav el to different planes of consciousness on the various divine sounds inherent in it. All these energies are extremely benevolent. They are here to provide balan ce and alignment for the listener, but also to accelerate evolutionary conscious ness. You may use visualization to enhance your experience as we sonically journ ey to different levels of being. Create your own inner guided meditation through the chakras or the Tree of Life. Fifth, THE LOST CHORD may be simply used as a tool for relaxation and stress reduc tion. The sonics found on it are designed to bring the activity of the body into a place of comfort and rest. THE LOST CHORD will help induce deep relaxation for all listening to it. Sixth, THE LOST CHORD may be used as a meditational tool to enhance the present pr actices of any meditator. Use the sounds to still your mind or do a particular p ractice. THE LOST CHORD is ideal for practitioners of yoga and many other similar activities. It is also ideal for slow movement. Finally, THE LOST CHORD may be used purely for listening enjoyment. It is our beli ef that if the listener does not find the experience of the sounds pleasurable, then any of the other potential uses of it may not occur. We trust you will find the various sonics to be soothing and beautiful for your body, mind and spirit. NOTE: Unlike the first CHAKRA CHANTS which went up the chakras one by one, beginni ng at the first chakra and concluding at the Crown chakra, THE LOST CHORD goes bot h up and down the chakras. It begins at the first chakra, goes to the Crown and then comes back down again to end at the first chakra. This is also the journey up and down the Tree of Life, going from Malkuth to Kether and finally back to M alkulth. It can be an extremely powerful and profound experience. THE CHAKRAS The word chakra is Sanskrit for wheel for chakras are seen by psychics as spinning b alls of energy which are located centrally in the front and the back of the body . The following is a brief description of the chakras: The first or base chakra located at between the base of the spine and the genitals . On the physical, it is involved with the process of elimination and the organs associated with that function. It is the chakra, which works with the energy of survival and creation. This chakra is also associated with grounding to the phy sical plane. The second or sacral chakra, located about three inches below the navel. On the ph ysical, it is is associated with the reproductive organs. This chakra works with sexual energy and the generative life force. This is a divine energy utilized i n the spiritual practice of tantra. Many perceive of this chakra as being a cent er of creation and power. The third or solar plexus chakra is located at the navel and a little above. On th e physical, it is involved with digestion and the digestive organs. It is a chak ra of power and is associated with mastery of self.

The fourth or heart chakra is located in the center of the chest. On the physical, it is involved with the lungs and the heart. This chakra is associated with the energy of compassion and love. The fifth or throat chakra is located at the throat. It is a chakra that is associ ated with the process of speech and hearing. The vocal apparatus and our ears ar e associated with this chakra. Many also perceive of this chakra as being a cent er of communication and will. The sixth or third eye chakra is located in the center of the forehead above the e yes. It is associated with imagination and psychic abilities. Mental activity an d brain functions are also association with this chakra. The seventh or crown chakra is located at the top of the head. It is associated wi th the induction of spiritual energy into the body. It is said to control every aspect of the body and mind and is associated with full enlightenment and union with God. CHAKRA SOUNDS THE LOST CHORD utilizes several different systems that use sound to balance the ch akras. Two of these are similar to those used in my recording, CHAKRA CHANTS ; the Sacred Vowel Sounds and chanted Bijas Mantras. The Sacred Vowels are from a syst em I developed during the writing of my book HEALING SOUNDS. The Sacred Vowels Sounds are as follows: 1st chakra uh, 2nd chakra oo, 3rd chakra oh, 4th chakra ah, 5th chakra eye, 6th chakra aye, 7th chakra eee. The chanted Bija Mantras also resonate the chakras. We have again utilized the s pecific system of chanted Bijas from Dr. Deepak Chopra. The chanted bijas are as follows: 1st chakras lam, 2nd chakra vam, 3rd chakra ram, 4th chakra yam, 5th chakra ham, 6th chakra sham, 7th chakra om. Also included are the spoken or whispered Bija Mantras. These are sacred Sanskri t sounds said to come from the Saraswati, Goddess of Science and Sound. They are sounds which brought forth the manifestation of all creation. Thanks to Dr. Joh n Beaulieu for his speaking of these mantras on this recording. For those of you who have seen illustrations of the chakras as found in the Hindu tradition, the chakras are depicted as being flowers or lotuses. The center of the lotus vibra tes to the energy of the chanted bijas. Around the center are petals. These peta ls resonate to the energy of the spoken bijas. The spoken bijas are as follows: lst chakra va, sah, say, sha, 2nd chakra ba, bha, m a, ya, ra, la, 3rd chakra da, dha, na, ta, tha, day, dha, nay, pa, pha, 4th chakra k a, kha, ga, gha, na, ca, cha, ja, jha, na, ta, tha, 5th chakra m, c, r, u, e, c, a , i, j, ai, s, u, a, s, h, 6th chakra ha, ksha, 7th chakra combination of all these 50 Sanskrit letters. During the creation of THE LOST CHORD, the idea came to me to have a god and god dess from the Hindu or Tibetan Tradition also represents the energy from the cha kras. It was then necessary to determine which of these deities would work best for this purpose, and then after that, come up with an appropriate mantra and me lody line to represent this. I decided that male and female consorts (spiritual h usband and wife ) would be the best choice. Drawing upon extensive research into the pantheon of Hindu and Tibetan deities, I was able to choose cosmic couples whos e energy was in resonance with specific chakras. While a great deal of thought and contemplation went into this choice, the decis

ion of which particular deities to associate with which specific chakras was dis cretionary and represents a metaphor for the deities and the chakras. Each of th e celestial beings could potentially resonate with any of the chakras for they a re indeed divine entities with many different qualities and capabilities. As suc h, the mantras and their associated Hindu/Tibetan gods and goddesses are just mo dels archetypes for the energy of the chakras. They are not intended to signify a n ultimate assignment of these beings for the chakras. There are many other mode ls that could be equally applied. For the 1st chakra, we utilize the universal energies of the Tibetan Deep Voice Om , the mantra of creation, as well as invoking the goddess Gayatri, Mother of the Vedas. The 2nd chakra invokes the energy of Shiva, the Transformer, god of fert ility and power and his wife Parvati. The 3rd chakra invokes the energy of Vishn u, the Preserver and his consort Lakshmi . The 4th chakra invokes the energy of the Tibetan Buddhas of compassion--the Avalokitesvara and his consort, Tara. The 5th chakra invokes the energy of Brahman, the Creator and the goddess Shardayai , who represents that aspect of Divine Oneness which specifically works with sou nd and music. The 6th chakra invokes the mantras for Manjushri, Tibetan Buddha o f Transcendental Wisdom and Saraswati, Goddess of Science and the Arts. The 7th chakra invokes the energy of Varjasattva, the Tibetan Buddha of Supreme Intellig ence and Bhuvaneshsvara, the Hindu Goddess of the Universe. The specific chants utilized on this recording are described in another section. THE TREE OF LIFE Kabbalah is the mystical aspect of Judaism arcane and hidden from normal, traditio nal knowledge and worship. It is a remarkably profound body of knowledge, which encompasses an understanding of the extraordinary. Most Western mystics and esot ericists, regardless of their religious orientation, have worked with the Kabbal ah in their magical and spiritual practice. Within Kabbalah is found the Tree of Life, a geometric form shown below. The Tre e of Life is composed of 10 planes or spheres of existence that one experiences on the journey to the Divine, called Sefirot in Hebrew. The sefirot represents D ivine Emanations of the One each sefira (singular) has a particular quality, as we ll as a specific archangel and a Sacred God Name which resonates with it. The Tr ee of Life is a symbolic explanation of how spiritual energy flows.

Using the Tree as a holographic model, it is possible to overlay practically all other models of consciousness and reality onto it. This includes the chakras. T he well-known author and teacher Caroline Myss, Ph.D. was responsible for bringi ng forth this relationship of the chakras and the sefirot of the Tree together a s used in this recording. In order to understand how a model with 10 Sefirot can be used with the 7 chakras, it is necessary to look at the tree and see that th ere are actually 7 levels to it. The first is Malkhut , which resonates with the en ergy of the base chakra. The second is Yesod , which resonates with the energy of the sacral chakra. The third level is a combination of Hod and Nezach , which resonates wi th the energy of the navel chakra. The fourth level is Tiferet , which resonates with the heart chakra. The fifth level is a combination of Gevurah and Chesed , which reson ates with the throat chakra . The sixth level is a combination of Binah and Hokmah whic resonate with the 3rd Eye chakra. The seventh level is Kether which resonates with the Crown chakra. It takes no stretch of the imagination to understand the sefira/ chakra relationship when one realizes that the English word for Kether , is crown . Within Kabbalah and the Tree of Life comes the concept of Merkabah or chariot whic h one may utilize in order to journey to the different planes of consciousness r epresented by the sephirot of the Tree. For many millenniums, Kabbalists have ut ilized the chanting of the Divine Names of God as the vehicle in order to travel

into celestial realms. This is essentially the same as mantric chanting in the Hindu and Buddhist traditions for invoking and becoming one with different Divin e Entities. CHANTS OF THE TREE There are a number of different chants which are utilized for this recording to represent and resonate with the Divine Energies of the Tree of Life. They includ e the chanting of the archangels associated with the different sephirot and the different God Names of the sephirot. Many years ago, during the research for my book HEALING SOUNDS: The Power of Har monics, I discovered a recording of the chanting of the Sacred God Names from a particular Western esoteric school. What was most interesting to me as I listene d to this recording was that the chanter was using elongated vowel sounds during the recitation of these names creating powerful vocal harmonics (perhaps unintent ionally) during this chanting. I became convinced that through conscious use of vocal harmonics during the recitation of these God Names, it might be possible t o create a harmonic melody that would resonate with the different sefirot. Each of the sefirot also has an archangelic entity associated with it. These archange lic names are also sung during specific sections of this recording and have grea t harmonic resonance as well. . The sefira of Malkuth (sometimes referred to as Shekhinah), whose name means kin gdom, resonates to the energy of the 1st chakra. The god name for this sefira is Adonai ha Aretz. The angel of this sefira is Sandalphon . The sefira of Yesod, whose name means foundation, resonates to the energy of the 2nd chakra. The god name for this is Shaddai El Chair . The angel of this sefira is Gabriel. The next two as cending sefirot, on opposite sides of the tree are Hod and Netzach. Hod means sp lendor. Netzach means victory. These two sefirot may be combined together to cre ate the energy of the 3rd chakra. The god names for this are Elohim Tzabaoth and Ad onai Tzabaoth . The angelic entity associated with Hod is Raphael, and with Netzac h is Haniel. The 4th chakra, the heart center, resonates to the energy of the se fira, Tifereth, which means beauty. The god name for this sefira is Yahway Eloah . The archangel of this realm is Michael. The next level of sefira, represented on opposite sides of the Tree and whose combined energies resonate to the 5th chak ra are Gevurah, which means strength, and Chesed which means mercy. The god name s for these sefirot are Elohim and El . The angelic names of these two sefirot are Ka mael and Zadkiel. The 6th chakra, the 3rd Eye is represented again by two chakra s on opposite sides of the tree Binah, which means understanding, and Chokmah whic h means wisdom. The god names for these sephirot are Yahway Elohim and Yod He Vav H ey . The angelic entities of these sefiirot are Zaphkiel and Raziel. The 7th chakr a is the sefira Kether, which means crown.. The god name for this realm is Ehei . T he angelic name for this is Metatron, also known as Shamael. It is worthy to note that while there are 7 levels to the Tree of Life, which ma y be related to the 7 chakras, the geometry of the Tree of Life demands, a parti cular path up as well as down the Tree. In this journey, up and down the Tree an d the Chakras, we used the Lightning Bolt path, a zig zag line that goes up and do wn. It begins with Malkuth, then goes to Yesod, followed by Hod, then Netzach, t hen Tifereth, followed by Gevurah, then Chesed, next Binah, followed by Chokmah and finally Kether. This order is reversed on the way down. In addition to the Kabbalistic chants that are utilized, THE LOST CHORD begins and ends with the Shema ; a prayer that I perceive one chants upon entering and leavin g the holy temple. It is a call for unification, saying God is one! It is a rememb rance that despite, all the many different emanations of the Divine, there is on ly one true source.

To my knowledge, this is the first time a recording has featured these different attributes of the Tree. It certainly is the first time these attributes have be en combined with Hindu and Tibetan waveforms in this manner. BIBLE CODE FREQUENCIES Joseph Puleo, MD, has come across a most interesting relationship between number s and the alphabet. Different from typical numerology and gematria (the relation ship of Hebrew alphabet to mathematics), Dr. Puleo has utilized the King James v ersion of the New Testament to decipher some very interesting numbers, which he believes were divinely given as a tool for planetary evolutionary acceleration. In the book BIBLICAL CODES FOR THE FORTHCOMING BIOLOGICAL APOCALYPSE , (co-autho red by Dr. Leonard Horowitz), Dr. Puleo released these Bible Codes . Shortly after reading this book, I had tuning forks cut to the different frequencies mentioned in the book. Weave, who co-created THE LOST CHORD and I, worked together with me u sing these Bible Code Frequencies. We did some preliminary research into these t uning forks, which Dr. Puleo believes are the frequencies of creation. While we have nothing signicant yet to report at this time, the Bible Codes represent an important potential in the field of sound as a therapeutic and transformational tool. Introducing each chakra and level of the Tree of Life is a sound which is a combination of the six Bible Code Frequencies sounded together. In addition, d uring the section on the Crown/Kether, human voices also sing these frequencies. Working with the consent of Dr. Puleo, we now present this additional aspect of THE LOST CHORD to you. THE TIME/SPACE OF THE CHAKRAS/SEPHIROT We have noted that THE LOST CHORD is both a journey up (ascending) and down (desce nding) the chakras and the Tree of Life. For most of this journey equal time/spa ce is devoted to each chakra. This is true for the 1st through 6th chakras/sefir ot (both ascending and descending) which are introduced by the sound of the Bibl e Code Tuning Forks. Each of the sections lasts approximately four minutes. The chakra/sefira of the Crown/Kether is 3 times as long as the others approximately 1 2 minutes. This allows for an equal time/space placement of 4 minutes in the Cro wn/Kether for both ascending and descending, as well as time/space to allow acce ss to higher chakras (sometimes called Transpersonal Points ) known in Kabbalah as A in Soph , the place of oneness without form. These two equal time/space placement of 4 minutes each, plus an additional placement of 4 minutes, totals approximate ly 12 minutes all together. OVERTONES, SACRED RATIOS AND INTERVALS Harmonics, or overtones, are geometric multiples of a given fundamental. When a string vibrates (at for example, 100 cycles per second), this string also create s other sounds which encompass a complete spectrum of sound. This 100 cycles per second (Hertz or Hz.) would be the fundamental of the string. Along with the 10 0 Hz. frequency are many, many other sounds that are mathematically related to t he fundamental. The first overtone vibrates twice as fast as the fundament at 200 Hz. The next overtone vibrates three times as fast at 300 Hz. The next overtone vi brates four times as fast at 400 Hz. The next overtone vibrates five times as fast a t 500 Hz. and so on. These overtones continue, conceptually, until infinity, tho ugh it is difficult for us to hear above the first 16 overtones. All the frequen cies in THE LOST CHORD are aspects of the 1st 21 harmonics found from generating the fundamental note, which we will discuss later. These overtones contribute to the timbre, or tone color nsible for giving different instruments their particular at are most pronounced in an instrument create the sound our voices) and allow us to differentiate, for example, of a sound. They are respo sound. The harmonics th of that instrument (and between a violin and a

saxophone. The human voice can also learn to consciously generate and manipulate these overtones so that a single voice can create a number of different tones a t the same time and effectively sing a chord perhaps an aspect of the Lost Chord. Overtones are considered sacred in many different traditions. Some perceive that the fundamental is the sound of the physical plane, while the overtones represe nt the sounds of higher dimensionalities. In particular, the Tibetan Deep Voice , and the Mongolian Hoomi represent styles of c reating vocal harmonics that enable the chanter to create many different tones a t the same time. We are grateful to have Tibetan lama, H.E. Ngawang Tashi Bapu, the Principle Chant Master of the Dalai Lama s Drepung Loseling Monastery whose Dee p Voice , along with my Deep Voice , is utilized as one of the basic tracks on this r ecording. It should also be noted that his specific prayer at the beginning and end of this recording is a Tibetan blessing, asking that enlightenment come to a ll sentient beings. In addition, overtone singing from the Hoomi style as well as n ouveau European vocal harmonic tradition , are present throughout THE LOST CHORD , su ng by myself and Alec Sims. As a note, all the extraordinary sounds found on thi s recording are created solely through the voice. Except for an occasional bell and the drum sound of the tabla, all sounds on this recording are vocal. Overtones also represent whole number ratios. When the second and third overtone s in the example given resonate together, they create tones that vibrate twice a s fast as the fundamental, and three times as fast as the fundamental. When soun ded together, they create the ratio of 2:3 and generate the interval that is cal led the perfect fifth . In the key of C , this would be the notes C and G sounding tog ether. This particular interval, when it does create the ratio of 2:3 is known a s the Perfect 5th (please bare in mind it is possible to strike the notes of C a nd G when they are tuned slightly differently and not create this ratio). When t he perfect fifth strikes together, it seems to have an effect that is both calmi ng and balancing. This ratio is just one of the possible ratios that can be crea ted from harmonics. Harmonically related notes playing together can display many different ratios, all of which effect us very differently. Many sound practitioners believe that not only are the chakras effected by frequ encies, but also by ratios. Some believe that the ratio is the most effective fo r working with the chakras. Many believe that the ratios, not frequencies (or si ngle tones) are predominantly responsible for the creation of interdimensional f ields. Of particular interest is the use of the Fibonacci Series,which is a numerical s equence that is said to describe the spiral. This spiral is the basis of many sa cred geometric forms and is found in the nautilus and the cochlea of our ear. Th is series can describe and be applied to growth of anything that lives be it a sin gle cell, a grain of wheat, a colony of bees or the human being. The sacred spir al is found in the architecture of sacred structure cathedrals and temples throughou t the planet. This spiral is found worldwide, as well, in the artwork of spiritu al and magical traditions. The Fibonacci Series is one in which the first two nu mbers add up to the next number. This sequences goes on continually. The first 7 numbers of it are: 1, 1, 2, 3, 5, 8,13. We have taken these numbers and used th e ratios of them to describe the energy of the Chakras/Tree of Life. The Greek l etter Phi demonstrates the relationship described in this series. Phi is the ave rage or approximation of this series of numbers and is described by the number 1 .618. Some feel that Phi, as aptly named, describes as well, ratios that embody love and beauty. Another example of this series is: 1,4,5,9,14,23,37. These rati os also adhere to the fundamentals of Fibonacci and are also found on this recor ding. All the relationships in the mix of THE LOST CHORD adhere to Phi. The different ratios that occur in music have different effects upon us. Feature d on this recording are many different ratios based upon the Fibonacci Series an d Phi, including: 1:1, 1:2, 2: 3, 3:5, 5:8 and 8: 13. This ratio of 8: 13 seems

to be a new interval that has not been found in music. Technically, it is called a Minor Sixth , but it is a very special tuning of this chord with the frequencies q uite different than that found in this interval of normal music. The 8:13 ratio has been described as being an angelic interval, opening up gateways and allowing higher levels of light and love to descend into us. This ratio is one of the man y keys of transcendence heard on THE LOST CHORD . In the same way that notes can create ratios, rhythms can also create ratios. If one person claps in a rhythm of two, and another person claps in a rhythm of th ree, this ratio of 2:3 is also created. It is different than a frequency display of ratio. But it is still ratio. Drums can create ratios. So can rhythmic passa ges. The rhythm of this recording is 50 beats per minute. This represents a very slow and relaxed heart beat often associated with deep states of meditation. There a re a plethora of rhythmic ratios which are the same as the pitch ratios we are u sing harmonically on this recording. All of the rhythms used on THE LOST CHORD are tuned to the different ratios of phi as well as the harmonic scale that is sung . All of these are creating tempos rhythmic ratios associated with the phi ratio s uch as on both the 2:1 ratio rhythm scale and the 3:2 rhythm octave creating mul ti-dimensional ratio effect. Using state of the art modern technology, we were able to calibrate specific fre quencies and intervals using the human voice in order to create these very ratio s. Until now, this has not been possible. TABLA Except for the human voice and very occasional bells, the only instrument heard on this recording is tabla performed with extraordinary capability by Ty Burhoe. Tabla is an ancient Indian drum which is normally used to accompany instruments such as sitar or the voice for meditative experiences. While technically consid ered a drum, the tabla also has the capability of sounding individual notes and can often function as an additional melodic instrument, such as a bass. Drummers who play tabla study for many years to be able to accomplish almost superhuman activities on tablas. Ty was able to incorporate the sacred ratios we used with voice and internal rhythms of THE LOST CHORD during his playing of tablas. Each ch akra/sefira has an equally distinctive and particular rhythmic feel thanks to Ty . THE KEYNOTE My previous recording, CHAKRA CHANTS used a harmonically related diatonic major sc ale to describe the relationship of the chakras. THE LOST CHORD does not. THE LOST CHORD uses the fundamental note of this recording; B at approximately 62 cycles p er minute. This happens to be the natural resonance of the sub-harmonic created from the Tibetan Deep Voice of myself, and H.E. Nawang Tashi Bapu as we chanted to gether. In North America, there is an electro-magnetic grid based upon 60 hz. (cycles pe r second), the signature keynote, if you like, of electricity. The keynote of THE LOST CHORD creates, through its proximity to this electro-magnetic keynote, a sl ow delta wave entrainment phenomenon with the electrical current moving through your house. In other words, between the electrical field in your home and this r ecording, is a frequency, which is the result of the difference of the two close ly matched frequencies. This frequency of about 2 cycles per second, may actuall y help your nervous system resonate to a delta frequency, which is frequently fo und in very deep relaxation and meditation. In addition, the keynote of THE LOST CHORD may allow this electro-magnetic grid frequency, which we all resonate with, to actually assist in the process of spiritual evolutionary development.

Working with the ratios of the Fibonacci Series instead of the keynotes of a dia tonic scale allowed for an equally effective experience into sonic journeying an d sound healing. I like to think that this B keynote resonates deeply at a very fundamental level, and could easily be used as the keynote for the root chakra. At the same time, it is a keynote that can be applied to the crown chakra. Perha ps it is both. Imagine as you listen, that you begin by activating both the base chakra as well as the crown chakra. Then have a good journey. SONIC FORMULAS I spent many years studying various systems that used different sonics to resona te the chakras. None of them necessarily were the same. As I mentioned in the li ner notes for CHAKRA CHANTS , as well as in my books, HEALING SOUNDS, and SHIFTING FREQUENCIES, it is my belief that we are all unique vibratory beings. I also bel ieve that intention (or the energy or thought behind the sound) is very powerful , particularly when coupled with sound. Infact, I like to suggest that FREQUENCY + INTENT = HEALING All the chants, invocations, mantras, prayers and other sonics on this recording were encoded with powerful intentions of healing. When we created these sounds, our intention was to produce balance and resonate the chakras, honor and invoke divine energy forms of the chakras and the Tree of Life and open up interdimens ional portals for consciousness enhancement. No small task, but this was after a ll, THE LOST CHORD . Another formula, which I created for HEALING SOUNDS is: VOCALIZATION + VISUALIZATION = MANIFESTATION This is very similar to the previous formula. It stems from an understanding inh erent in many magical and spiritual traditions about the creation myths. In the beginning, the creator god would visualize an object, then speak its name and br ing it into being. Visualization, or the ability to image an object, person or p lace, is very useful in working with sound. If one has difficulty with imaging, then feeling the energy of the object, person or place, is also acceptable and u seable in the process of manifestation through sound. During the recording of THE LOST CHORD , the different divine entities and realms we worked with were all vis ualized during the vocalizations. We trust that you will enjoy THE LOST CHORD that the energies, and intentions, as we ll as the sonics we have chosen will help create a healing and transformative ex perience for you. Thank you Wave, for your vast knowledge of this mystery we exp lore and your valuable contribution to this exploration of sacred sound. Remembe r that, as always, you are a co-creator in any interplay between energies--you h elp create whatever manifests as a result of your interface. Jonathan Goldman THE LOST CHORD CHAKRA/SEFIROT CHANTS 1. Chakra: Base - Muladhara Energy: Grounding Sefirot: Malkuth (Kingdom)/ Shekhinah (Creation) Angelic name: Sandalphon God name: Adonai ha Aretz Vowel Sound: Uh Chanted Bija: Lam Spoken Bijas: va, sa (sah), sa (say), sha

Mantras: Tibetan Om & Gayatri Mantra Shema Israel Ratio: 1:1 2. Chakra: Sacral - Svadisthana Energy: Power Sefirot: Yesod (Foundation) Angelic name: Gabriel God name: Shaddai El Chai Vowel Sound: Oo Chanted Bija: Va, Spoken Bijas: ba, bha, ma, ya, ra, la Male (Shiva) : Om Shivaya Namaha Female (Parvati): Om Sri Parvati Ratio: 1:1 3. Chakra: Solar Plexus- Manipura Energy: Self Sefirot: Hod (Glory) & Netzach (Victory) Angel names: Raphael (Hod) & Haniel (Netzach) God names: Elohim Tzbaoth (Hod) & Adonai Tzabaoth (Netzach) Vowel Sound: Oh Chanted Bija: Ram Spoken Bijas: da, dha, na, ta, tha, da (day), dha (dhay), na, pa, pha Male (Vishnu): Om Shri Vishnu Namaha Female (Laksmi): Om Nama Laksmiyai Ratio: 1:2 4. Chakra: Heart - Anahata Energy: Love Sefirot: Tiferet (Beauty) Angelic Name: Michael God name: YHVH Eloah Vowel Sound: Ah Chanted Bija: Yam Spoken Bijas: ka, kha, ga, gha, na (nah), ca, cha, ja, jha, na (neh), ta, tha Male (Avalokitesvara) : Om Mani Padme Hum Female (Tara): Om Tara Tu Tare Ture Svaha Ratio: 2:3 5. Chakra: Throat - Vishuddhi Energy: Will(Communication/Expression) Sefirot: Gevurah (Strength) & Chesed (Mercy) Angelic Name: Kamael (Gevurah) & Zadkiel (Chesed) God names: Elohim (Gevurah) & El (Chesed) Vowels Sound: Aye Chanted Bija: Ham Spoken Bijas: m(om), c, r (rat) , u (oo), e, c (ch) a, i (eye). j (jar), ai, s (ss), u, a (ah), s (sh), h (house) Male (Brahma): Om Brahmaya Namaha Female (Shardayai): Om Sri Maha Shardayai Namaha Ratio: 3:5 6.

Chakra: 3RD Eye - Ajna Energy: Insight, Wisdom Sefirot: Binah (Understanding) & Chokmah (Wisdom) Angelic name: Zaphkiel (Binah) & Raziel (Chokmah) God names: YHVH Elohim (Binah) & Yah/Yod He Vav He (Chokmah) Vowel sound: Aye Chanted Bija: Sahm Spoken Bijas: ha, ksha Male (Manjushri): Om Ah Ra Ba Zha Na Dhi Female (Saraswati): Om Sarasvatayai Ratio: 5:8 7. Chakra: Crown - Sahasrara Energy: Transcendence Sephirot: Kether (Crown) Angelic name: Metatron /Shamael God name: Ehei Vowel Sound: Eee Chanted Bija: Om Spoken Bijas: (all 50 letters of the sanskrit alphabet): va, sah, say, sha, bha, ma, ya, ra, la, da, dha, na, ta, tha, day, dhay, nay, pa, pha, ka, kha, ga, gha, nah, ca, cha, ja, jha, neh, ta,,tha, m o, r, u, e, ch, a, i, j, ai, ss, u, ah, sh, h, ha ksha Male (Vajrasattva): 100 syllable Mantra Female (Bhuvaneshvari): Om Sri Ma & Hrim Ratio: 8:13 THE LOST CHORD Jonathan Goldman Composed and Arranged by Jonathan Goldman & Weave Produced and Engineered by Jonathan Goldman & Weave HE. Ven Ngawang Tashi Bapu Chant recorded by Dik Darnell Recorded and mixed at Spirit Studios, Boulder CO Re,oxed at Etherean Studio by Weave and Dik Darnell Mastered at: Air Show Mastering, Boulder, CO Mastered by: David Glasser Executive Producer: Dik Darnel cover art: (c) 2000 Donald Beaman Graphic Design: Tom Rome Photo: Susan Mills Jonathan Goldman: Overtone Singing, Tibetan Deep Voice, Mantric Chanting, Chakra Chants, Tree of Life Chants, Vowel & Bija Chanting, Toning, Weave: Mantric Chanting, Sample & Vocal Programming, Tuning Forks, H.E. Ngawang Tashi Bapu: Tibetan Deep Voice Laraaji: Gayatri Mantra, Toning Kathleen Hoffman: Mantric Chanting, Toning John Beaulieu: Spoken Bijas Sarah Benson: Shanti Mantra, Crown/Kether Toning Alec Sims:, Sri Ma Mantra, Overtone Singing, Ruth Weider Magan: Hebrew Chant

Rabbi Auri V. Ishi: Torah Andi Hilgert: Om Joshua Goldman: Om

Jonathan Goldman is a musician, author and teacher. For over 20 years, he has be en an international authority on sound healing and a pioneer in the field of har monics. Jonathan is the author of HEALING SOUNDS (Element Books), SHIFTING FREQU ENCIES (Light Technology) and THE LOST CHORD (Spirit Music). He is director of t he Sound Healers Association and president of Spirit Music in Boulder, Colorado. He holds an M.A. from Lesley College in Independent Study of the Uses of Sound and Music for Healing. Jonathan presents Healing Sounds Seminars throughout the world. His recordings include: Dolphin Dreams , Sacred Gateways , Trance Tara , The Angel and The Goddess and Chakra Chants , winner of the 1999 Visionary Awards for Best Heal ing-Meditation Album and Album of the Year . Swami Brahmananda Saraswati has initiat ed Jonathan as Swami Nadananda Saraswati in the tradition of the Sacred Order of Dasanama Sanyasa of Srimat Sankaracharya. Jonathan has been empowered by Rinche n Chugyal, Chant Master of the Dalai Lama s Drepung Loseling Monastery, to teach s acred Tibetan overtone chanting. Weave is a renowned musician, percussionist, recording engineer and vibrational adept. He is the creator of the award winning Album of the Year, Cho Ku Rei . Weave is also a Reiki Master who has studied many methods of sound healing and sacred geometry, Weave is aspiring to bridge the worlds of sacred sound, rhythm and wo rld music. He and Jonathan have enjoyed a creation association over the past six years, which began with the creation of the recording, Trace Tara . H.E. Ven. Ngawang Tashi Bapu is the Principle Chant Master of the Dalai Lama s Dre pung Loseling Monastery in India. He has traveled throughout the world, teaching , performing and recording with monks of the Monastery. Ty Burhoe is an internationally renowned percussionist. A student of Zakir Hussa in, Ty s albums includes Cuandero . He works with many well known artists including K ai Eckhardt, Bela Fleck, Paul McCandless, Art Lande and Kitaro. John Beaulieu is a renowned master teacher of sound and healing. He is the autho r of MUSIC AND SOUNDS IN THE HEALING ARTS. A composer, pianist, music therapist and naturopathic doctor, his recordings include Calendula . Sarah Benson is an embodiment of the Divine Mother who has imparted this loving energy through her voice and music for over 30 years. Founder of the Earth Sound Light Center, she is a master teacher and initiator. Her recordings include Flut es of Interior Time . Laraaji Nadananda is musician and teacher of sound, consciousness and laughter. He facilitates workshops and performs throughout the world. A pioneering artist of ambient and meditative music, his recordings include: Cacade , Days of Radiance d Celestial Realms . Auri V. Ishi is a rabbi ordained by Shlomo Carlebach living in the Rocky Mountai ns! Ruth Weider Magan is a spiritual vocalist from Israel. Her recordings include Son gs to the Invisible God . She appears courtesy of Sounds True. Alec Sims is a master guitarist and spiritual adept. He teaches Sound Healing an d who works with Jonathan Goldman and the Sound Healers Association. Kathleen Hoffman is a healer and herbalist, who loves to make music. Andi Hilgert is a holistic psychotherapist, musician and Sound Healers.

an

Joshua Goldman is a student of life and teacher of his father, Jonathan. Thanks to all the beings of light and love on all the different dimensions comin g through to assist this project. Appreciation to: Jim Albani, Karen Anderson, S arah Benson, PJ Birosik, Swami Brahmananda, Steve Brown, Brian Crowley, Alain Da nielou, Chad & Tae Darnell, Drepung Loseling Monastery, Helen Duran, Gangaji, Ka y Gardner, Richard Goldman, Deva Marga Goldy, Justin Miera, Gyuto Monastery, Gyu me Monastery, Steven Halpern, Areyeh Kaplan, Michael Logue, Randall McClellan, J im Oade, Joseph Puleo, Gene Roddenbery, Shaadonai, Shamael, Shaherradin, and Sha rron Weiner. Special thanks to my wife, Andi Hilgert, without whose support THE LOST CHORD neve r would have been found, and to my dear friend Weave, for your incredible talent and consciousness. To all our wonderful friends and light workers at the distri bution and retail outlets who have supported our work and made such a substantia l difference in our lives, to all of my students throughout the world who contin ue this glorious resonance, I send all of my Love and Light through Sound. For information on Jonathan Goldman s workshops, Spirit Music recordings and other pertinent material, contact him at: P.O. Box 2240, Boulder, CO 80306. Tele: (80 0) 246-9764. Fax (303) 443-6023, email info@healingsounds.com. web: www.healings ounds.com. Cover: THE LOST CHORD by Donald Beaman. Donald is a mystic teacher and visionary artist whose work includes the TAROT OF SAQQARA. The cover displays the interwo ven intricacies of the chakras, the Tree of Life and the Tree of Knowledge. Dona ld is the husband of Sarah Benson. All ratios and proportions of this painting a re based upon the harmonic principles of the Lambdoma Diagram. The cover itself, or with THE LOST CHORD may be used as an energy balancing tool. 1. Entering the Sacred (3:40) 2. Peace Trance (Pt. I) (3:58) 3. Dream Mastery (Pt. I) (3:58) 4. Call of Compassion (Pt. I) (4:01) 5. Embracing the Beloved (Pt. I) (4:00) 6. Awakened Voices (Pt. I) (3:59) 7. Gateway to the Thirteen (6:14) 8. Dance of the Void (5:42) 9. Awakened Voices (Pt. II) (3:59) 10. Embracing the Beloved (Pt. II) (4:07) 11. Call of Compassion (Pt. II) (3:47) 12. Dream Master (Pt. II) (4:08) 13. Peace Trance (Pt. II) (3:57) 14. Departing the Sacred (3:55) Total: 59:33

2012: ASCENSION HARMONICS Jonathan Goldman Liner Notes Some things are magic. This is one of them! I know a recording is magic because: (1) there is grace and easiness as well as a timelessness in the creational pro cess almost as though unseen forces are guiding me every step of the way, (2) it wo rks much more effectively than I could ever have conceived, and (3) when I try t o better it through another version, spending countless hours in the recording stu dio, it somehow doesn t turn out the same it doesn t work as well and the magic isn t th ere. 2012: Ascension Harmonics is indeed a magical sound creations! Contained in these liner notes you will find information about Tibetan bowls, overtones and the sac red intent encoded in these sounds. That however is not enough to justify whatev er effect this recording produces. Overall, 2012:Ascension Harmonics seems to have the ability of shifting the consciousness of listeners. In addition, it seems t o create some sort of inter-dimensional gateway that allows powerful and profoun d energies to travel through it a kind of sonic wormhole. This recording has been in my private collection for many years. I initially cre ated it for myself and used it exclusively in my own personal life (and with a f ew fellow travelers on the path of spiritual evolution). It was created for a co smological event called the Harmonic Convergence , which according to many aware of the Mayan Calendar signaled a new level of vibrational activation. Many believe that the time period from the Harmonic Convergence to 2012 was to be the major time period for humanity to evolve before the Great Shift would occur. Gradually, I began to utilize it in my workshops to assist what I call frequency shifting, and what many others would call the process of ascension the raising of our vibrational levels to higher states of consciousness. I am now being guided to release this recording to the public. Apparently it is time. Perhaps it s beca use it s very much in alignment with the powerful energy of 2012. 2012 According to many legends, writings and prophecies, 2012 is a year of extraordin ary importance of great spiritual shift and transformation. It is said that the Ma yan Calendar ends at this time, and that because of this a new world will be eme rging. Others site the Hopi prophecies that talk about the manifestation of the 5th world. No one really knows for sure, but many perceive that 2012, (in partic ular December 21 the winter solstice of that year) will signal the beginning of a gl obal awakening to psychic connection a new level of consciousness for human kind asc ension into a higher level of being. Since much of my work with sound and consci ousness has always focused on assisting the process of what I call Global Harmoni zation that of heightening consciousness and bringing peace and harmony to the plan et I personally resonate with the ascension aspect of 2012. With regard to this positive viewpoint of 2012, some predict that humankind will develop all sorts of extraordinary abilities what the ancients might have called siddhis or miraculous powers; telepathy, teleportation, the ability to manifest reality with our thoughts. Others suggest changes in our perception of time and space and how we interface with this. Of particular note by many researchers is the fact that at this point in time the Earth will be going through the center o

f the Milky Way. Some perceive we ll encounter a Black hole on this side of the gala xy which our consciousness will spiral through and come out of a White hole on the other side. At this point, once this occurs, these sources suggest we ll be quite evolved. I do like this concept since my own experience with 2012: Ascension Har monics is that the sounds on this recording act as a portal through which our con sciousness can travel. Regardless of which particular viewpoint about 2012 you r esonate with, it s all quite exciting and speculative. From my perspective, if we do cross over into a higher threshold of being in whi ch we can manifest reality with our thoughts, it is my belief that it is mandato ry to first develop the consciousness to use abilities such as these. It is my h ope that we will have developed what I consider to be the single most important characteristic that humans can manifest and this is compassion. Through developin g compassion what some would call loving kindness or unconditional love, I think w e d be in fine shape as a species that had evolved to the next level of consciousn ess. What I do know is that humankind has the unparalleled ability to affect the freq uency level and vibrational rate of this planet through our collective conscious ness. This has been validated through the work of various Global Meditations gro ups, including the Global Consciousness project. From my perspective, I know tha t sound amplifies meditation and prayer. Thus, the importance of using sonic veh icles such as Ascension Harmonics to not only assist in heightening our consciousn ess, but also to enhance the energies we want to manifest on the Earth. With this in mind, if enough of us believe that Dec. 21, 2012 is a date of great significance, and we re praying and meditating (and of course sounding) prior to and during this time, I have little doubt that a shift will occur. The Sounds 2012: Ascension Harmonics is composed entirely of the sounds of the human voice al ong with Tibetan Bowls and Bells. The primary sounds that you ll hear are the sacr ed mantras Om , Ah and Hu , as well as sacred vowel sounds. There are no synthesizers on this recording every sound you hear was produced either through the human voice o r the sounds of Tibetan Bowls and Bells. These sounds when coupled together as they are on this recording seem to have the ability to activate the heart center and upper chakras, assisting t he listener in opening to experiences of higher consciousness and transformation . Overtones Through the human voice extraordinary sounds called overtones are produced. Thes e overtones generated through the voice sound like bells, flutes or synthesizers . What are overtones? Overtones, in many ways, represent the color of sound. It is the different stresse d overtones in instruments that cause them to be recognizable as a violin or a s axophone or whatever. The same is true of the human voice. While overtones are p resent whenever a note is sung, it is possible to learn to bring out the various overtones of a sound using specific vocal techniques so that these overtones ar e particularly audible and noticeable. It is a bit like taking a prism and holdi ng it into the light so that the different colors of the spectrum become visible . These vocal harmonics can be quite striking to listen to. Sometimes they sound like a ghost voice or a flute or a bagpipe, sometime they sound like a bell, a whistle or a buzzing sound. A well-trained overtone singer can produce the first 16 overtones quite audibly. Several different traditions have learned to consciously manipulate vocal sounds

so that overtones are noticeably audible above the fundamental. In Tibet, certa in monks have gained the ability to create a very Deep Voice while generating speci fic overtones. In Mongolia and Tuva, a different form of creating vocal harmonic s, called Hoomi or throat singing has been developed. Many of the ancient Mystery Sch ools , in Egypt and other places, most probably utilized vocal harmonics as part o f their spiritual and transformational practices. Today, there is a reemergence of vocal harmonics used as an artistic form and/or spiritual practice. The creation of these vocal harmonics differs slightly from those of Tibet and other Eastern places in that these newer techniques to produ ce vocal harmonics are easy to learn and do not require much vocal constraint. T hroughout this recording you will hear various notes and sounds that are produce d solely through the human voice created through sounding specific vowel sounds and vowel oriented mantras. Tibetan Bowls & Bells In addition, as previously noted, you will hear the sounds of Tibetan Bowls and Tibetan Bells (Ting-Shas), which are sacred implements of sound from the Tibetan Tradition. Many people use them for healing meditation and consciousness transf ormation. These bowls and bells have the ability to create entrainment frequencies that se em to be able to change our brainwave activity. In particular, preliminary resea rch of 2012: Ascension Harmonics has found it effective in generating low theta br ainwave activity (around 4 to 5 Hz.) in listeners this is activity in which the br ain is able to do a healing work, access higher levels of consciousness and gene rally experience altered states of consciousness. In addition, it is now specula ted that this recording also helps induce newly discovered Gamma waves, extremel y high frequency brainwave activity (40 Hz. and higher) that is associated with the consciousness states experienced by long term meditators such as Tibetan Mon ks No doubt, the sonics of the Tibetan Bowls and Tibetan Bells contribute to thi s. These exquisite bowls come from the Himalayan countries of Tibet, Nepal and Bhut an. The older bowls are made of seven semi-precious metals. Their origin and use is shrouded in mystery. They seem to have manifested from the Tibetan Buddhist traditions, where they were hand made by monks chanting sacred mantras into the very metal they were molding. These Tibetan bowls produce beautiful, powerful to nes that are excellent to use for clearing energy and creating sacred space. In addition, these bowls have great healing applications, removing disharmony from our subtle bodies, our charkas and our physical body. Tibetan bowls are sounded by either striking them with a wooden stick or rubbing the stick along the edge to make them 'sing', producing a beautiful tone. When struck by a wooden stick, the tone of a Tibetan bowl can last for a minute or mo re. When played using the wooden stick along the edge, the sound of these Tibeta n bowls can last indefinitely. These bowls produce several tones at the same tim e. These tones interface and synergize with each other when played together, pro ducing an even greater number of simultaneously sounds. The two disc shaped bells of the Tibetan Bells, which are rung together, are sli ghtly out of tune with each other. The different tones between the two bells pro duce a frequency that entrains the brain to alpha or theta waveform. Depending u pon the bells, the difference tones between them create extremely low frequencies, somewhere between 4 and 8 cycles per second. This falls exactly within the rang e of the brain waves created during meditation and helps shift the brain to thes e frequencies. Ting-Shas are excellent sonic tools for clearing energy in the auric field, or e

ven the physical body as well as for creating sacred space. The simple act of ta pping them together seems to help induce states of deep relaxation. Ringing them together seems to help announce to our psyche that we are about to enter into a sacred and important time and space. When struck together, the tones of both Tibetan Bells and Tibetan Bowls may at f irst be a bit harsh and almost piercing. Thus, the bells and bowls on 2012: Ascen sion Harmonics ) were recorded with a technique in which the initial attack of the b ell and bowl (for example, a striker hitting the bowl which can make at harsh cl anging sound) was dissipated. It s a technique I originated with this recording an d have since used on numerous recordings, including Medicine Buddha and Waves of Li ght . Intent Many years ago I developed the formula, Frequency + Intent = Healing . In all my bo oks and in the liner notes for my recordings I always discuss the importance of the intention we hold in our sound experience. Frequency is the actual sound that is being created. Intent is the energy behind the sound, and may be a real key as to the effects of sound--particularly vocally created sound. I believe awareness of our intent will help enhance the sound healing experience and frequency shif ting effect. During the recording of the various sounds you ll hear on 2012 Ascension Harmonics, I invoked the energies of Shamael, the Angel of Sacred Sound and Saraswati, Hin du and Tibetan Goddess of Science and Sound--music and medicine, as well as othe r beings of Light & Love through Sound. The intent on 2012 Ascension Harmonics was to create a vehicle that could be use as a sonic merkabah to travel to other real ms of consciousness

Use 2012: Ascension Harmonics is a great tool for enhancing deep states of meditation. It is also a powerful tool for assisting deep inner shamanic journeys, sacred r ituals and transformational experiences. Still others use it as a background to sound along with. Because of the power and sacredness of the sounds on this recording, I ask that you honor these magical sounds and only use 2012: Ascension Harmonics in an approp riate manner. In addition, because of their powerful ability to produce altered states of cons ciousness, I ask that you do not listen to this recording in any situations wher e your focused attention is needed in a car, operating machinery or in similar sit uations. Listen to 2012: Ascension Harmonics only in a safe setting, in which you will be allowed to resonate to its powerful frequency shifting ability and not b e disturbed.

Suggested Reading The Mayan Code by Barbara Hand Clow Mayan Cosmogenesis 2012 by John Major Jenkins and Terence McKenna The Mystery of 2012 by Gregg Braden, Peter Russell, and Geoff Stray 2012: by Daniel Pinchbeck Jonathan Goldman is an international authority on sound healing and a pioneer in the field of harmonics. He is the author of Healing Sounds; Shifting Frequencie

s; The Lost Chord; Tantra of Sound (co-authored with his wife, Andi Goldman), wh ich won the 2006 Visionary Award for Best Alternative Health Book and his latest , The 7 Secrets of Sound Healing. Jonathan presents Healing Sounds Seminars thro ughout the world. He is the director of the Sound Healers Association and presid ent of Spirit Music, Inc., in Boulder, Colorado. A Grammy nominee, Jonathan has created numerous best-selling, award-winning recordings, including The Divine Na me (with Gregg Braden); Reiki Chants; Ultimate Om; The Lost Chord; and Chakra Ch ants, winner of the Visionary Award for Best Healing-Meditation Album. He is als o a lecturing member of the International Society for Music and Medicine. To learn more about Jonathan s work, please visit: www.healingsounds.com or www.so undhealersassociation.org. 2012: ASCENSION HARMONICS Jonathan Goldman Time: 1:11:10 Jonathan Goldman: Vocal Harmonics, Tibetan Bowls & Bells, Created & Produced by Jonathan Goldman Recorded, and mixed by Jonathan Goldman, Spirit Sounds, Boulder, CO Mastered by Akshara Weave & Jonathan Goldman Cover Art: by Lahrinda Design by Dave Kirby MMVIII by Jonathan Goldman. (p) MMVIII Spirit Music, Inc. Administered by Spirit Music Inc. on behalf of Jonathan Goldman and Sound Healers Publishing, ASCAP All Rights Reserved. www.healingsounds.com (303) 443-8181 Other Spirit Music Products Include: ULTIMATE OM REIKI CHANTS HOLY HARMONY TANTRA OF SOUND HARMONIZER CHAKRA CHANTS THE LOST CHORD MEDICINE BUDDHA CHAKRA CHANTS 2 DOLPHIN DREAMS CHAKRADANCE TRANCE TARA SACRED GATEWATS DE-STRESS WAVES OF LIGHT REIKI CHANTS FREQUENCIES 2012: ASCENSION HARMONICS Jonathan Goldman 1:11:10 In the tradition of ULTIMATE OM, comes 2012: ASCENSION HARMONICS Created by Jonathan Goldman, one of the world s foremost authorities on Sound Heal ing, 2012: Ascension Harmonics is designed to be used to initiate altered states of consciousness and activate heightened awareness. Composed of Vocal Harmonics , Tibetan Bowls and Bells, these undulating waves of Healing Sounds will transfor m you.. 2012: Ascension Harmonics assists vibrational activation and frequency s hifts. The sacred, multi-dimensional harmonic sounds are excellent for enhancing deep states of meditation as well as for shamanic journeys, rituals, and the as cension process.

DO NOT DRIVE OR OPERATE HEAVY MACHINERY WHILE LISTENING TO THIS RECORDING.

Jonathan Goldman presents CHAKRA CHANTS HOW TO USE CHAKRA CHANTS This recording was created to resonate and align the energy centers of the body known as the chakras. The sounds on CHAKRA CHANTS are designed to create balance in the physical, emotional, mental and spiritual bodies. Sound affects not only our ears (and our brain), but also our physical and our subtle bodies. Because of this, there are a number of different ways in which CHAKRA CHANTS may be used . CHAKRA CHANTS may be used as a self-healing and meditation tool. The sounds on t his recording assist in inducing not only chakra balancing, but also expanded st ates of awareness. It is helpful, though not necessary, to focus your attention on the related chakra as the chant for that center begins. Listening and meditat ing in this manner will assist in the chakra resonance experience and in sonic j ourneying. Second, CHAKRA CHANTS may be used as a sonic environment for creating balance an d alignment during subtle energy work and body work. Along with resonating the c hakras, the sounds on this recording will help induce deep relaxation for all li stening to it. Playing CHAKRA CHANTS will assist in the healing experience, crea ting balance for all within the listening area. Third, CHAKRA CHANTS may be used as a tool for you to actively create sound with and learn how to resonate your chakras with your own sounds. These liner notes describe in detail the sounds that are used and how you may create a co-active e xperience with them in order to create greater balance and alignment within your self. Finally, CHAKRA CHANTS may be used as listening music which will help create an enjoying and relaxing feeling for yourself. While these sounds may help enhance balance and alignment, this awareness can be secondary to the experience of pure listening pleasure. These liner notes are fairly extensive, containing much information on the chakr as and the specific sounds that were used on CHAKRA CHANTS. Also included is a g uided visualization which may be used for enhancing the CHAKRA CHANTS experience . It has long been a vision of mine to see this recording come into being and to c reate a sound experience in which various methods of resonating the chakras woul d be utilized. It was my intent to ultimately create a recording that could be u sed to assist personal and planetary healing, for meditational and inner journey ing, as a teaching tool and for pure listening enjoyment. I trust that CHAKRA CH ANTS fulfills all of these uses. THE CHAKRAS CHAKRA CHANTS has been in contemplation from me for almost twenty years. In 1980 I first began my study of the uses of sound and music as therapeutic and healin

g modalities. My initial investigation into the area was the relationship betwee n sound and the chakras. The word chakra is a Sanskrit term meaning wheel , for cha kras are seen as spinning wheels of light by those with the ability to see subtl e energy. The chakras are found in many traditions, including Hindu and Tibetan. Many esot eric and occult Mystery School describe these energy centers. While the chakras ha ve been incorporated in many spiritual practices, their existence seems to be ba sed, not upon religion, but upon awareness of energy. There is even scientific i nstrumentation which is beginning to record and validate them. There are seven main chakras. These chakras are transduction points-- places whe re subtle energy from other planes begins to become more dense. The energy from the chakras densifies more as it comes into the body. It becomes the acupuncture points and meridians and finally, transduces its energy into the physical body. Imbalances in the physical body can be detected through the chakras. Frequently , healers who work with subtle energy can detect imbalances before they manifest in the physical body by feeling imbalances in the chakras. By balancing the cha kras, imbalances in the physical body will often disappear. There is a feedback loop occurring with the energy of the chakras. The physical body interfaces with this energy and vice versa. Frequently, an imbalance in a c hakra will manifest later in the physical body. It is possible, such as through a traumatic injury, for both the physical body and the chakras to be simultaneou sly imbalanced. Healing of the physical occurs much more rapidly when the subtle anatomy--particularly the chakras--are aligned after physical injury. Frequency shifting through resonating the chakras allows us to help create balance and al ignment within ourselves. There are seven main chakras, seven spinning balls of energy which are located c entrally in the front and the posterior of the body. The following is a brief de scription of the chakras: The first or base chakra located at the bottom of the trunk is involved with the p hysical process of elimination and the organs which work with that function. It is the chakra associated with the energy of survival. This chakra is also associ ated with grounding to the physical plane. The second or sacral chakra, located about three inches below your navel. This i s associated with sexual energy, the reproductive organs and with much of the li fe force. The sexual energy is a divine energy utilized in the spiritual practic e of tantra. The third or navel chakra is located at the navel and a little above. It s energy is associated with digestion and the digestive organs. It is also associated wit h power and mastery of self. The fourth or heart chakra is located in the center of the chest between the nip ples. On the physical, it works with the lungs and the heart. On the emotional, it works with the energy of compassion and love. The fifth or throat chakra is located at the throat, at the base of the neck. It is a chakra that is associated with the process of communication; speech and he aring. The ears are associated with this chakra, as is, of course, the vocal app aratus. The sixth or brow chakra is located in the center of the forehead above the eyes . Often called The Third Eye , it is associated with imagination and psychic abilit ies. Mental activity and brain function are also associated with this chakra.

The seventh or crown chakra, is located at the top of the head. It is associated with the induction of spiritual energy into the body. It is said to control eve ry aspect of the body and mind and is associated with full enlightenment and uni on with God. This chakra is normally not fully open in most humans, though pictu res of saints and other spiritual beings with halos are depictions of activated cr own chakras. These are the seven main chakras found in the various traditions. These seven ch akras are the focus of the sonic resonances on CHAKRA CHANTS. In my study of the relationship between sound and chakras are many different systems of sound that worked to resonate, balance and align the chakras. CHAKRA SOUNDS CHAKRA CHANTS utilizes several of these different systems of using sound to bala nce the chakras. To begin, I utilize a system of sacred vowel sounds that I have taught for many years and seems to be highly effective in balancing the chakras . The Sacred Vowel are considered sacred in many different traditions and Myster y Schools throughout the planet, including ancient Egyptians, Hebrew, Islamic , Tibetan, Japanese and Native American. There are a number of different systems o f Sacred Vowels to balance the chakras. I have utilized a system that came to me many years ago and that I have shared effectively with thousands of people. I next added the Bija Mantras, the Sanskrit letters from the Vedic traditions, w hich by themselves are said to balance and align the chakras. There are silent B ijas and spoken Bijas. These are the spoken Bijas which are chanted aloud in ord er to resonate the chakras. As with all systems of using sound, there are variat ions. Such is the case with the Bija Mantras. I wish to thank Dr. Deepak Chopra for the specific system of Bija Mantras utilized on this recording. Each chakras in the Vedic tradition is also associated with a particular element . These sounds have been included when applicable to create a sonic environment for the CHAKRA SOUNDS. Also included in this sonic environment are sounds from t he Shabd Yoga, the science of the Audible Sound Current. These sounds are consid ered to be Divine Emanations of the Creator. Sometimes the Vedic sounds were the same as the Shabd sounds. At times, they were not. Despite any difference of th ese two schools, their sounds combined well together to enhance CHAKRA CHANTS. For the fundamental frequency (or keynote) to use for each chakra. I have chosen a diatonic major scale, starting on the note C. This is one of the most popular systems utilized to resonate the chakras. It is, as I have said, merely a syste m. Nevertheless, in the context of this recording, it works. Of particular note is that the fundamental frequencies used for this system are harmonically related--that is the notes are the natural result of the geometric vibrations of a given string (brought within a single octave). The tuning is dif ferent than that of a keyboard. The notes created are based upon the harmonics c reated from the fundamental notes of the note C which vibrates at 256 cycles per second (and then having the harmonics transposed down so that the fit within th e octave of that C note). 256 hz. is a harmonic of 1 cycle a second. Many believ e this keynote to be in natural resonance with many of the frequencies of the Ea rth. INTENT In my books HEALING SOUNDS and SHIFTING FREQUENCIES, I discuss the importance of intent in the sound experience. A formula I present is: Frequency + Intent = Hea ling . Intent is the energy behind the sound (the Frequency ) and may be a real key as to the effects of sound--particularly vocally created sound. I believe awareness of intent will help enhance the sound healing experience and frequency shifting

effect. During the recording of these various sounds, I invoked in the energies of Shama el, the Angel of Sacred Sound and Saraswati, Hindu and Tibetan Goddess of Scienc e and Sound--music and medicine. Next, I focused my intention on the particular chakra that was to be activated during the sounding. The intention, therefore, f or the resonance of these chakras was very specific. While making the sound, I f ocused my attention on the chakra, feeling the energy vibrating in that area. I focused my intention so that the energy could be recorded onto the recording. An y additional singers or players on CHAKRA CHANTS also did the same. In addition to all of these sounds on CHAKRA CHANTS are simple improvisational m elodies for the chakras. On occasion, I brought in some friends to tone these so unds with me. They come from no specific system, but were intuited at the time o f the recording. When recording CHAKRA CHANTS, the various sounds were specifically pulsed in ord er to help fascilitate slow and meditative breathing. These rhythms are in cycle s of 8, pulsed at approximately 64 beats per minute. These pulsed sounds contrib ute to the psycho-acoustic effects, as do the the selections of frequencies on t his recording which assist in entraining body and brain to relaxing patterns. The following is the system that I utilized for the CHAKRA CHANTS: lst CHAKRA - Root - Muladhara Keynote: C Frequency: 256 hz.. Vowel: Uh Bija: Lam Element: Earth Shabd Sound: Thunder Instrument: Drum Energy: Grounding 2nd CHAKRA - Sacral - Svadisthana Keynote: D Frequency: 288 hz Vowel: Ooo Bija: Vam Element: Water Shabd Sound: Ocean Instrument: brass Energy: Life Energy, Sexual 3rd CHAKRA - Navel - Manipura Keynote: E Vowel: Oh Frequency: 320 hz. Bija: Ram Element: Fire Shabd Sound: Roaring Fire Element: Fire Instrument: Horn --Sax Energy: Power 4th CHAKRA - Heart - Anahata

Keynote: F Frequency: 341. 3 hz. Vowel: Ah Bija: Yam Element: Air Shabd Sound: Wind Instrument: Violin Energy: Compassion, Love 5th CHAKRA - Throat - Vishuddhi Keynote: G Frequency: 384 hz. Vowel: Eye Bija: Ham Element: Ether Shabd Sound: Crickets Instrument: Flute Energy: Communication, Creation 6th CHAKRA - 3rd Eye - Ajna Keynote: A Frequency: 426.7 hz. Vowel: Aye Bija: Sham Element: All Shabd Sound: Twinkling Bells Instrument: crystal bowls Energy: Insight, Wisdom 7th CHAKRA - Crown - Sahasrara Keynote: B Frequency: 480 hz. Vowel : Eeee Bija: Om Element: All Shabd Sound: Om Instrument: Human Voice Energy: Transcendence GUIDED VISUALIZATION The following visualization may be utilized if you would like to chant along wit h THIS recording to resonate your own chakras. It is my belief that active parti cipation in the sound experience can only enhance your experience of sound. In H EALING SOUNDS, I offer the formula: Vocalization + Visualization = Manifestation. It is an ancient secret from the Mystery Schools, found in the major spiritual and magical traditions. By adding visualization to the sound, the effect of the sound becomes more profound. Each of the CHAKRA CHANTS utilizes a different Sacred Vowel, Bija Mantra, Tonal Center and Elemental Sound to create resonance and balance. The psycho-acoustic sounds on CHAKRA CHANTS also enhances altered states of consciousness. This can make it easy to forget which chakra is being resonated. In order to facilitate m ore conscious awareness of this journey through the chakras, a Tibetan bell will ring at the beginning of each new chakra. The bell will ring for the appropriat e number of times for that chakra. For example, there will be one bell ring for the first chakra and seven bell rings for the seventh chakra. When you hear the

bell, it may be helpful to bring your attention to that chakra. In this visualization, I am adding a simple system of color that may be visualiz ed along with the sounds of the chakras. There are many other systems of color h ave also been utilized to work with the chakras. If other colors are preferred o r come to you to work with, I suggest that you do so. Please also note that whil e visualization works well for some people, it is rather difficult for others. I f this is the case, you might simply work with the sounds without attempting to force a color into your consciousness. You might be surprised at the results. Whenever you work with sound, make the sound in a gentle and relaxed voice. Do n ot strain yourself. Remember bigger is not better, nor is louder necessarily mor e powerful. You will be amazed a how little effort is required to create a sound that can shift your frequencies. Choose either the Sacred Vowel or the Bija Man tras to work with at first. Either one or the other. After you have successfully worked with either the Vowels or the Mantras, you may try to combine the two. Begin by focusing your attention on the first or root chakra, located between th e anus and the genitals. Visualize this chakra as a spinning balls of energy. It s color is red. The energy associated with this chakra is that of survival and gr ounding to the physical plane. To sound this chakra, in order to balance it, mak e the very deepest Uh sound (as in the word cup ) that you can and focus your intenti on on this area. A Bija Mantra that resonates this area is Lam . Now focus your attention on the second or sacral chakra, located about three inc hes below your navel. This chakras associated with sexual energy and with much o f the life force. Visualize this chakra as a spinning ball of energy. It s color i s orange. To sound this chakra, make a higher pitched Oo sound (as in the word you ) while you are focusing your intention on this area. A Bija Mantra which resonate s this chakra is Vam . Now, focus your attention on the third or navel chakra, located at the navel and a little above. Also called the solar plexus chakra, It is physically associate d with the digestive process. This chakra s energy is also associated with power a nd self mastery. Visualize this chakra as a spinning ball of energy. It s color is yellow. To sound this chakra, make a higher pitched Oh sound (as in the word go ) wh ile focusing intention on this area. A Bija Mantra to resonate this chakra is Ram . Now focus your attention on the fourth or heart chakra, located in the center of the chest between the nipples. On the physical, it works with the lungs and the heart. On the emotional, it works with the energy of compassion and love. Visua lize this chakra as a spinning ball of energy. It s color is green.To sound this c hakra, make a higher pitched Ah sound (as in the word ma ) while focusing your intent ion on this area. A Bija Mantra for this chakra is Yam . Now, focus your attention on the fifth or throat chakra located at the throat, a t the base of the neck. It is a chakra that is associated with communication. Vi sualize this chakra as a spinning ball of energy. It s color is blue . Speech and hearing are associated with this chakra. To sound this chakra, make a higher pit ched Eye sound (as in the word I ) while focusing your intention on it. A Bija Mantra to resonate this chakra is Ham . Now focus your attention on the sixth or brow chakra, located in the center of t he forehead above the eyes. This chakra is often called The Third Eye . It is assoc iated with imagination and psychic abilities. Visualize this chakra as a spinnin g ball of energy. It s color is indigo. To sound the Third Eye, make a higher pitc hed Aye sound (as in the word say ) while focusing your intention on this area. A Bij a Mantra for this chakra is Sham . Finally, focus your attention on the seventh chakra or crown chakra, located at

the top of the head. It is associated with the induction of spiritual energy int o the body. Visualize this chakra as a spinning ball of energy. It s color is purp le. To sound the Crown, make the highest pitched Eeee sound (as in the word me ) that you can make, while focusing your intention on this area. A Bija Mantra for thi s chakra is Om . Through learning to work with your own sounds using the CHAKRA SOUNDS you can ta ke an active part in the frequency shifting experiences. Once you have balanced and aligned your chakras through sacred sound, it is important to sit quietly an d receive. Silence is an essential part of the sound healing phenomenon. Honor i t. Respect it. And work with it. Frequently, it is in the time of silence when t he greatest changes and frequency shifts occur. THE CHAKRA CHANTS runs for appro ximately an hour. If possible, after that give yourself additional time for sile nt meditation, feeling the totality of clear white light pouring into you. CHAKRA CHANTS was initially created as a tool for frequency shifting in order to create balance. I have found that it is a powerful tool for self-transformation and healing. If utilized for this purpose, if possible, listen to it in a place where you will not be disturbed by others. However as a gentle balance, CHAKRA CHANTS works nicely as a sonic background in rooms or even offices and may be us ed in such places. This recording is dedicated to all the beings of light, love and sound who have assisted in making THE CHAKRA CHANTS a reality. OVERTONES Within any given note is a complete spectrum of sound. All instruments and the h uman voice have this quality. The additional sounds we are talking about are cal led overtones or harmonics . They are geometric multiples of the first note, called t he fundamental. For example, a fundamental note of 256 hz. when sounded, generat es overtones that vibrate twice as fast as the fundamental, three times as fast, four times as fast, five times as fast and so on. The resulting overtones vibra te at 512 hz., 768 hz., 1,024 hz. and 1,280 hz. These are just the first five ov ertones. They continue to multiply, conceptually unto infinity. Overtones, in many ways, represent the color of sound. It is the different stresse d overtones in instruments which cause them to be recognizable as a violin or a saxophone or whatever. The same is true of the human voice. While overtones are present whenever a note is sung, it is possible to learn to bring out the variou s overtones of a sound using specific vocal techniques so that these overtones a re particularly audible and noticeable. It is a bit like taking a prism and hold ing it into the light so that the different colors of the spectrum become visibl e. These vocal harmonics can be quite striking to listen to. Sometimes they soun d like a ghost voice or a flute or a bagpipe, sometime they sound like a bell, a whistle or a buzzing sound. Vocal harmonics can be quite transformational to pr oduce and mysterious to hear. A well trained overtone singer can produce the fir st 16 overtones quite audibly. Several different traditions have learned to consciously manipulate vocal sounds so that overtones are noticeably audible above the fundamental. In Tibet, certa in monks have gained the ability to create a very Deep Voice or Growl Tone while gen erating specific overtones. In Mongolia and Tuva, a different form of creating v ocal harmonics, called Hoomi , has been developed. Many of the ancient Mystery Schoo ls , in Egypt and other places, most probably utilized vocal harmonics as part of their spiritual and transformative practice. Today, there is a reemergence of vo cal harmonics used as an artistic form and/or spiritual practice. The creation o f these vocal harmonics differs slightly from those of Tibet and other Eastern p laces in that these newer techniques to produce vocal harmonics are easy to lear

n and do not require much vocal constraint. Overtoning, a specific sound healing technique described in HEALING SOUNDS has n ow become generically used to describe the conscious creation of overtones durin g singing. Throughout this recording you will hear various notes and sounds that are produced solely through the human voice. The various Sacred Vowels utilized for chakra resonance in this recording have a particular relationship to the ov ertone series. Singing the vowels in this order creates an ascending series of h armonics. Many of the specific Bija Mantras, as well, led to the creation of spe cific harmonics during their chanting. In addition, during many of the improvisa tional sections in the different pieces, you will sometimes hear both a normal v oice as well as a special voice to produces harmonics. We trust these sounds wil l enhance the CHAKRA CHANT experience for you. Jonathan Goldman Jonathan Goldman is a musician, author and teacher. An authority on sound healin g and pioneer in the field of harmonics, he is the author of HEALING SOUNDS (Ele ment Books) and SHIFTING FREQUENCIES (Light Technology). He is director of the S ound Healers Association and president of Spirit Music in Boulder, Colorado. Jon athan presents Healing Sounds Seminars throughout the United States and Europe. His recordings include: Dolphin Dreams, Gateways: Men s Drumming and Chanting, Ang el of Sound, Hermetic Harmonics , Song of Saraswati, Trance Tara For information on Jonathan s workshops, Spirit Music recordings and other pertine nt material, contact him at P.O. Box 2240, Boulder, CO 80306. Tele: (800) 246-97 64. Fax: (303) 443-6023. email: soundheals@aol.com. web: www.healingsounds.com. Cover: CHAKRA CHANTS by Donald Beaman. Donald is a mystic teacher and visionary artist whose works include the TAROT OF SAQQARA. The cover displays a person ill uminated through sound meditation being enveloped by the Shri Yantra, the visual representation of the Om . All ratios and proportions of this painting are based u pon the harmonic principles of the Lambdoma Diagram. The cover by itself, or wit h CHAKRA CHANTS may be used as an energy balancing tool. Jonathan Goldman is a musician, author and teacher. An authority on sound healin g and pioneer in the field of harmonics, he is the author of HEALING SOUNDS (Ele ment Books) and SHIFTING FREQUENCIES (Light Technology) and TANTRA OF SOUND (Ham pton Roads). He is director of the Sound Healers Association and president of Sp irit Music in Boulder, Colorado. Jonathan presents Healing Sounds Seminars throu ghout the United States and Europe. His recordings include: Dolphin Dreams, Gate ways: Men s Drumming and Chanting, Angel of Sound, Hermetic Harmonics , Song of Sa raswati, Trance Tara, Chakra Chants and many more.. For information on Jonathan s workshops, Spirit Music recordings and other pertine nt material, contact him at P.O. Box 2240, Boulder, CO 80306. Tele: (800) 246-97 64. Fax: (303) 443-6023. email: info@healingsounds.com. web: www.healingsounds.c o

CHAKRA CHANTS II Jonathan Goldman ON THE CREATION OF CHAKRA CHANTS II This is the long awaited follow up to my award winning recording CHAKRA CHANTS.

It has been 4 years since the release of that CD. Since that time, I ve produced m any other recordings of extraordinary healing and transformational music. Yet so mehow, CHAKRA CHANTS has found a resonance with the listening public that truly has transcended and defied any expectations that I may have had. What a blessing ! CHAKRA CHANTS II is very much like the original CHAKRA CHANTS in terms of the fr equencies, vowel sounds, mantras and other sounds that are used. The use of this recording is also the same. Thus the powerful sonic combinations that made the first CHAKRA CHANTS work so effectively are also present on this recording. What makes a significant difference is the presence of Sarah Saruah Benson whose exqui site sounds are found on CHAKRA CHANTS II alongside mine. For those of you who have read my book HEALING SOUNDS (Inner Traditions), you kn ow that my first initiatory experience in sound occurred through the extraordina ry teachings and energy of Saruah. It has been my great honor and pleasure to de velop a continuing friendship and sharing with Saruah that has lasted nearly 30 years. Saruah continues to be one of the most extraordinary embodiments of Light & Love through Sound that I have ever encountered to me and all who know her; she is the Divine Mother manifest through Music. Her voice, her flute and her compa ssionate heart are present on every note of this recording. Thus, it is with gre at gratitude that I present CHAKRA CHANTS II to you for your listening enjoyment and healing. Jonathan Goldman HOW TO USE CHAKRA CHANTS II This recording was created to resonate and align the energy centers of the body known as the chakras. The sounds on CHAKRA CHANTS II are designed to create bala nce in the physical, emotional, mental and spiritual bodies. Sound affects not o nly our ears (and our brain), but also our physical and our subtle bodies. Becau se of this, there are a number of different ways in which CHAKRA CHANTS II may b e used. CHAKRA CHANTS II may be used as a self-healing and meditation tool. The sounds o n this recording assist in inducing not only chakra balancing, but also expanded states of awareness. It is helpful, though not necessary, to focus your attenti on on the related chakra as the chant for that center begins. Listening and medi tating in this manner will assist in the chakra resonance experience and in soni c journeying. Second, CHAKRA CHANTS II may be used as a sonic environment for creating balance and alignment during subtle energy work and bodywork. Along with resonating the chakras, the sounds on this recording will help induce deep relaxation for all listening to it. Playing CHAKRA CHANTS II will assist in the healing experience, creating balance for all within the listening area. Third, CHAKRA CHANTS II may be used as a tool for you to actively create sound w ith and learn how to resonate your chakras with your own sounds. These liner not es describe in detail the sounds that are used and how you may create a co-activ e experience with them in order to create greater balance and alignment within y ourself. Finally, CHAKRA CHANTS II may be used as listening music that will help create a n enjoying and relaxing feeling. While these sounds may help enhance balance and alignment, this awareness can be secondary to the experience of pure listening pleasure. These liner notes are fairly extensive, containing much information on the chakr

as and the specific sounds that were used on CHAKRA CHANTS II. Also included is a guided visualization that may be used for enhancing the CHAKRA CHANTS II exper ience. It has long been a vision of mine to record this follow up album to CHAKRA CHANT S with Sarah Benson. The response from that original album has been phenomenal a nd I trust that those listening to this album will have equal if not greater res onance with it. It was our intent to ultimately create a recording that could be used to assist personal and planetary healing, for meditation and inner journey ing, as a teaching tool and for pure listening enjoyment. Sarah and I trust that CHAKRA CHANTS II fulfills all of these uses. THE CHAKRAS I had contemplated the creation of the original recording of CHAKRA CHANTS for a lmost twenty years. In 1980 I first began my study of the uses of sound and musi c as therapeutic and healing modalities. This study ultimately manifested with a Master s Degree in Independent Study of the Uses of Sound and Music for Healing f rom Lesley College in Cambridge, Massachusetts. Sarah Benson was on my advisory board for that degree program. My initial investigation into the area of sound healing was the relationship bet ween sound and the chakras. The word chakra is a Sanskrit term meaning wheel , for chakras are seen as spinning wheels of light by those with the ability to see su btle energy. The chakras are found in many traditions, including Hindu and Tibet an. Many esoteric and occult Mystery School describe these energy centers. While t he chakras have been incorporated in many spiritual practices, their existence s eems to be based, not upon religion, but upon awareness of energy. There is even scientific instrumentation that is beginning to record and validate them. There are seven main chakras. These chakras are transduction points-- places whe re subtle energy from higher planes begins to become denser. The energy from the chakras then becomes more dense as it comes into the body. It next becomes the acupuncture points and meridians and finally, this energy transduces into the de nsity of the physical body. Imbalances in the physical body can be detected thro ugh the chakras. Frequently, healers who work with subtle energy can detect imba lances before they manifest in the physical body by feeling imbalances in the ch akras. By balancing the chakras, imbalances in the physical body will often disa ppear. There is a feedback loop occurring with the energy of the chakras. The physical body interfaces with this energy and vice versa. Frequently, an imbalance in a c hakra will manifest later in the physical body. It is possible, such as through a traumatic injury, for both the physical body and the chakras to be simultaneou sly imbalanced. Healing of the physical occurs much more rapidly when the subtle anatomy--particularly the chakras--are aligned after physical injury. Frequency shifting through resonating the chakras allows us to help create balance and al ignment within ourselves. There are seven main chakras, seven spinning balls of energy that are located ce ntrally in the front and the posterior of the body. The following is a brief des cription of the chakras: The first or base chakra located at the bottom of the trunk is involved with the p hysical process of elimination and the organs which work with that function. It is the chakra associated with the energy of survival. This chakra is also associ ated with grounding to the physical plane. The second or sacral chakra, located about three inches below your navel. This i s associated with sexual energy, the reproductive organs and with much of the li

fe force. The sexual energy is a divine energy utilized in the spiritual practic e of tantra. The third or navel chakra is located at the navel and a little above. Its energy is associated with digestion and the digestive organs. It is also associated wi th power and mastery of self. The fourth or heart chakra is located in the center of the chest between the nip ples. On the physical, it works with the lungs and the heart. On the emotional, it works with the energy of compassion and love. The fifth or throat chakra is located at the throat, at the base of the neck. It is a chakra that is associated with the process of communication; speech and he aring. The ears are associated with this chakra, as is, of course, the vocal app aratus. The sixth or brow chakra is located in the center of the forehead above the eyes . Often called The Third Eye , it is associated with imagination and psychic abilit ies. Mental activity and brain function are also associated with this chakra. The seventh or crown chakra, is located at the top of the head. It is associated with the induction of spiritual energy into the body. It is said to control eve ry aspect of the body and mind and is associated with full enlightenment and uni on with God. This chakra is normally not fully open in most humans, though pictu res of saints and other spiritual beings with halos are depictions of activated cr own chakras. These are the seven main chakras found in the various traditions. These seven ch akras are the focus of the sonic resonance I first utilized on CHAKRA CHANTS and now, on CHAKRA CHANTS II. In my study of the relationship between sound and cha kras are many different systems of sound that worked to resonate, balance and al ign the chakras. CHAKRA SOUNDS CHAKRA CHANTS II utilizes several of the most effective systems of using sound t o resonate and balance the chakras. To begin, I utilize a system of sacred vowel sounds that I developed and used for many years. These use of vowels seem to be highly effective in balancing the chakras. For more information about this, ple ase see the chapter on Vowels As Mantras in my book HEALING SOUNDS. The Sacred Vow el are considered sacred in many different traditions and Mystery Schools throug hout the planet, including ancient Egyptians, Hebrew, Islamic, Tibetan, Japanese and Native American. There are a number of different systems of Sacred Vowels t o balance the chakras. I have utilized a system that came to me many years ago a nd that I have shared effectively with thousands of people. I next added the Bija Mantras, the Sanskrit letters from the Vedic traditions, w hich by themselves are said to balance and align the chakras. There are silent B ijas and spoken Bijas. These are the spoken Bijas that are chanted aloud in orde r to resonate the chakras. As with all systems of using sound, there are variati ons. Such is the case with the Bija Mantras. I wish to thank Dr. Deepak Chopra f or the specific system of Bija Mantras utilized on this recording. Each chakra in the Vedic tradition is also associated with a particular element. These sounds have been included when applicable to create a sonic environment f or CHAKRA CHANTS II. Also included in this sonic environment are sounds from the Shabd Yoga, the science of the Audible Sound Current. These sounds are consider ed to be Divine Emanations of the Creator. Sometimes the Vedic sounds were the s ame as the Shabd sounds. At times, they were not. Despite any difference of thes e two schools, their sounds combined well together to enhance CHAKRA CHANTS II.

For the fundamental frequency (or keynote) to use for each chakra. I have chosen a diatonic major scale, starting on the note C. This is one of the most popular systems utilized to resonate the chakras. It is, as I have said, merely a syste m and there are others. Nevertheless, in the context of this recording, it works most effectively. Of particular note is that the fundamental frequencies used for this system are harmonically related--that is the notes are the natural result of the geometric vibrations of a given string (brought within a single octave). The tuning is dif ferent than that of a keyboard. The notes created are based upon the harmonics c reated from the fundamental notes of the note C that vibrates at 256 cycles per second (and then having the harmonics transposed down so that the fit within the octave of that C note). 256 Hz. is a harmonic of 1 cycle a second. Many believe this keynote to be in natural resonance with many of the frequencies of the Ear th itself. Some belief it is a harmonic of the actual frequency of the Earth. INTENT In my books HEALING SOUNDS and SHIFTING FREQUENCIES, I discuss the importance of intent in the sound healing experience. A formula I present is: Frequency + Inte nt = Healing . Intent is the energy behind the sound (the Frequency ) and may be a real key as to the effects of sound--particularly vocally created sound. I believe a wareness of intent will help enhance the sound healing experience and frequency shifting effect. The intention we place upon the sound truly influences our expe rience with the sound. Another formula from these two books which I created and utilize on CHAKRA CHANTS II is Vocalization + Visualization = Manifestation. This means that the sound cre ated coupled with the visualization one encodes on the sound will assist the man ifestation of the energy of the sound. If one is chanting a mantra to resonate a nd balance a specific chakra while visualizing that chakra being balanced and re sonated, the manifestation will be the balance and resonation of that chakra. Sa rah and I employed this formula during the recording process. A third most formula I have recently devised is this: F1 (Frequency) + F2 (Feelin g) = FX (Effect) . This is another aspect of the previous two formulas. In this fo rmula, sound plus the feelings projected upon the sound creates the effect of th e sound. Feelings seem to truly amplify the human electro-magnetic field particula rly the feeling of appreciation. Thus projecting sound with feeling creates an e ven greater and more effective tool for assisting both personal and planetary he aling. When creating the sounds for CHAKRA CHANTS II , both Sarah and I would actua lly feel the resonance and balancing of our chakras as we made the sound, being grateful and giving thanks as we experienced this. During the recording of these various sounds on CHAKRA CHANTS II , Sarah and I invo ked the energies of Shamael, the Angel of Sacred Sound, Saraswati, Hindu and Tib etan Goddess of Science and Sound--music and medicine and many other divine and glorious beings. While making the sound, we focused our intention on the specifi c chakras, visualizing the chakras resonating with the sound and feeling the ene rgy vibrating in the chakra areas. We focused these intentions, visualizations a nd feelings so that this energy could be encoded onto this recording. Any additi onal singers or players on CHAKRA CHANTS II also did the same. In addition to all of these sounds on CHAKRA CHANTS II are improvisational melod ies for the chakras that are both toned and played. They come from no specific s ystem, but were intuited at the time of the recording. Sarah and I believe throu gh out intentions, visualizations and feelings, that we were divinely guided dur ing this process.

When recording CHAKRA CHANTS II, the various sounds were specifically pulsed in order to help facilitate slow and meditative breathing. These rhythms are in cyc les of 8, pulsed at approximately 64 beats per minute. These pulsed sounds contr ibute to the psycho-acoustic effects, as do the selections of frequencies on thi s recording that assist in entraining body and brain to relaxing patterns. The following is the system that utilized for the CHAKRA CHANTS II: lst CHAKRA - Root - Muladhara Keynote: C Frequency: 256 Hz. Vowel: Uh Bija: Lam Element: Earth Shabd Sound: Thunder/Earthquake Energy: Grounding 2nd CHAKRA - Sacral - Svadisthana Keynote: D Frequency: 288 Hz Vowel: Ooo Bija: Vam Element: Water Shabd Sound: Ocean Energy: Life Energy, 3rd CHAKRA - Navel - Manipura Keynote: E Vowel: Oh Frequency: 320 Hz. Bija: Ram Element: Fire Shabd Sound: Roaring Fire Element: Fire Energy: Power 4th CHAKRA - Heart - Anahata Keynote: F Frequency: 341. 3 Hz. Vowel: Ah Bija: Yam Element: Air Shabd Sound: Wind Energy: Compassion, Love 5th CHAKRA - Throat - Vishuddhi Keynote: G Frequency: 384 Hz. Vowel: Eye Bija: Ham Element: Ether Shabd Sound: Crickets Energy: Communication, Creation

6th CHAKRA - 3rd Eye - Ajna Keynote: A Frequency: 426.7 Hz. Vowel: Aye Bija: Sham Element: All Shabd Sound: Bells/Space Energy: Insight, Wisdom 7th CHAKRA - Crown - Sahasrara Keynote: B Frequency: 480 Hz. Vowel: Eee Bija: Om Element: All Shabd Sound: Om Energy: Transcendence GUIDED VISUALIZATION The following visualization may be utilized if you would like to chant along wit h CHAKRA CHANTS II to resonate your own chakras. It is my belief that active parti cipation in the sound experience can only enhance your experience of sound. The various formulas described previously reveal an ancient secret from the Mystery Schools, found in the major spiritual and magical traditions. By adding visualiz ation, intention and feelings to the sound, the effect of the sound becomes more profound. Thus while CHAKRA CHANTS II is powerful by itself simply by listening t o it, the recording becomes even more powerful through working with visualizatio n, intention and feeling while sounding along with it. Each of the chakra sounds on CHAKRA CHANTS II utilizes a different Sacred Vowel, B ija Mantra, Tonal Center and Elemental Sound to create resonance and balance. Th e psycho-acoustic sound on CHAKRA CHANTS II also enhances altered states of cons ciousness. This can make it easy to forget which chakra is being resonated. In o rder to facilitate more conscious awareness of this journey through the chakras, a Tibetan bell will ring at the beginning of each new chakra. The bell will rin g for the appropriate number of times for that chakra. For example, there will b e one bell ring for the first chakra and seven bell rings for the seventh chakra . When you hear the bell, it may be helpful to bring your attention to that chak ra. In this visualization, I am adding a simple system of color that may be visualiz ed along with the sounds of the chakras. There are many other systems of color h ave also been utilized to work with the chakras. If other colors are preferred o r come to you to work with, I suggest that you do so. Please also note that whil e visualization works well for some people, it is rather difficult for others. I f this is the case, you might simply work with the sounds without attempting to force a color into your consciousness. You might be surprised at the results. Whenever you work with sound, make the sound in a gentle and relaxed voice. Do n ot strain yourself. Remember bigger is not better, nor is louder necessarily mor e powerful. You will be amazed a how little effort is required to create a sound that can shift your frequencies. Choose either the Sacred Vowel or the Bija Man tras to work with at first. Either one or the other. After you have successfully worked with either the Vowels or the Mantras, you may try to combine the two. Begin by focusing your attention on the first or root chakra, located between th e anus and the genitals. Visualize this chakra as a spinning ball of energy. Its

color is red. The energy associated with this chakra is that of survival and gr ounding to the physical plane. To sound this chakra, in order to balance it, mak e the very deepest Uh sound (as in the word cup ) that you can and focus your intenti on on this area. A Bija Mantra that resonates this area is Lam . Now focus your attention on the second or sacral chakra, located about three inc hes below your navel. This chakra is associated with sexual energy and with much of the life force. Visualize this chakra as a spinning ball of energy. Its colo r is orange. To sound this chakra, make a higher pitched Ooo sound (as in the word you ) while you are focusing your intention on this area. A Bija Mantra that reson ates this chakra is Vam . Now, focus your attention on the third or navel chakra, located at the navel and a little above. Also called the solar plexus chakra, it is physically associate d with the digestive process. This chakra s energy is also associated with power a nd self mastery. Visualize this chakra as a spinning ball of energy. Its color i s yellow. To sound this chakra, make a higher pitched Oh sound (as in the word go ) w hile focusing intention on this area. A Bija Mantra to resonate this chakra is Ra m . Now focus your attention on the fourth or heart chakra, located in the center of the chest between the nipples. On the physical, it works with the lungs and the heart. On the emotional, it works with the energy of compassion and love. Visua lize this chakra as a spinning ball of energy. Its color is green. To sound this chakra, make a higher pitched Ah sound (as in the word ma ) while focusing your inte ntion on this area. A Bija Mantra for this chakra is Yam . Now, focus your attention on the fifth or throat chakra located at the throat, a t the base of the neck. It is a chakra that is associated with communication. Vi sualize this chakra as a spinning ball of energy. Its color is blue. Speech and hearing are associated with this chakra. To sound this chakra, make a higher pit ched Eye sound (as in the word I ) while focusing your intention on it. A Bija Mantra to resonate this chakra is Ham . Now focus your attention on the sixth or brow chakra, located in the center of t he forehead above the eyes. This chakra is often called The Third Eye . It is assoc iated with imagination and psychic abilities. Visualize this chakra as a spinnin g ball of energy. Its color is indigo. To sound the Third Eye, make a higher pit ched Aye sound (as in the word say ) while focusing your intention on this area. A Bi ja Mantra for this chakra is Sham . Finally, focus your attention on the seventh chakra or crown chakra, located at the top of the head. It is associated with the induction of spiritual energy int o the body. Visualize this chakra as a spinning ball of energy. Its color is pur ple. To sound the Crown, make the highest pitched Eee sound (as in the word me ) that you can make, while focusing your intention on this area. A Bija Mantra for thi s chakra is Om . Through learning to work with your own sounds using the CHAKRA CHANTS II you can take an active part in the frequency shifting experiences. Once you have balanc ed and aligned your chakras through sacred sound, it is important to sit quietly and receive. Silence is an essential part of the sound healing phenomenon. Hono r it. Respect it. And work with it. Frequently, it is in the time of silence whe n the greatest changes and frequency shifts occur. CHAKRA CHANTS II runs for app roximately an hour. If possible, after that give yourself additional time for si lent meditation, feeling the totality of clear white light pouring into you. CHAKRA CHANTS II was initially created as a tool for frequency shifting in order to create balance. I have found that it is a powerful tool for self-transformat ion and healing. If utilized for this purpose, if possible, listen to it in a pl

ace where others will not disturb you. However, for gentle balance, CHAKRA CHANT S II works nicely as a sonic background in rooms or even offices and may be used in such places. OVERTONES Within any given note is a complete spectrum of sound. All instruments and the h uman voice have this quality. The additional sounds we are talking about are cal led overtones or harmonics . They are geometric multiples of the first note, called t he fundamental. For example, a fundamental note of 256 Hz. when sounded, generat es overtones that vibrate twice as fast as the fundamental, three times as fast, four times as fast, five times as fast and so on. The resulting overtones vibra te at 512 Hz., 768 Hz., 1,024 Hz. and 1,280 Hz. These are just the first five ov ertones. They continue to multiply, conceptually unto infinity. Overtones, in many ways, represent the color of sound. It is the different stresse d overtones in instruments that cause them to be recognizable as a violin or a s axophone or whatever. The same is true of the human voice. While overtones are p resent whenever a note is sung, it is possible to learn to bring out the various overtones of a sound using specific vocal techniques so that these overtones ar e particularly audible and noticeable. It is a bit like taking a prism and holdi ng it into the light so that the different colors of the spectrum become visible . These vocal harmonics can be quite striking to listen to. Sometimes they sound like a ghost voice or a flute or a bagpipe, sometime they sound like a bell, a whistle or a buzzing sound. Vocal harmonics can be quite transformational to pro duce and mysterious to hear. A well-trained overtone singer can produce the firs t 16 overtones quite audibly. Several different traditions have learned to consciously manipulate vocal sounds so that overtones are noticeably audible above the fundamental. In Tibet, certa in monks have gained the ability to create a very Deep Voice or Growl Tone while gen erating specific overtones. In Mongolia and Tuva, a different form of creating v ocal harmonics, called Hoomi , has been developed. Many of the ancient Mystery Schoo ls , in Egypt and other places, most probably utilized vocal harmonics as part of their spiritual and transformative practice. Today, there is a reemergence of vo cal harmonics used as an artistic form and/or spiritual practice. The creation o f these vocal harmonics differs slightly from those of Tibet and other Eastern p laces in that these newer techniques to produce vocal harmonics are easy to lear n and do not require much vocal constraint. Overtoning, a specific sound healing technique described in HEALING SOUNDS has n ow become generically used to describe the conscious creation of overtones durin g singing. Throughout this recording you will hear various notes and sounds that are produced solely through the human voice. The various Sacred Vowels utilized for chakra resonance in this recording have a particular relationship to the ov ertone series. Singing the vowels in this order creates an ascending series of h armonics. Many of the specific Bija Mantras, as well, led to the creation of spe cific harmonics during their chanting. In addition, during many of the improvisa tional sections in the different pieces, you will sometimes hear both a normal v oice as well as a special voice to produces harmonics. We trust these sounds wil l enhance the CHAKRA CHANT II experience for you. VOCAL AND MUSICAL IMPROVISATIONS As stated, there are vocal improvisations that were recorded for each of the cha kras. As Sarah and I listened to the initial vocal tracks that had been recorded , energy would move through us, and we would sound and record this energy, allow ing it to resonate with the already existing chakra sounds that had been created

. Sarah also contributed extraordinary instrumental tracks, using applicable instr uments such as ancient clay flute, Native American wooden flutes and silver flut es that represented the energy of the different chakras. Sarah has a true gift t o be a conduit of Sacred Sound she becomes a Divine instrument and what manifest t hrough her is a pleasure to perceive and receive. Her flute playing alone has be en known to heal and transform. I trust that the combination of our sounds and e nergies together will create a very special musical addition to the field of sou nd healing and help resonate and transform ourselves and the planet. This recording is dedicated to all the beings of light, love and sound who have assisted in making CHAKRA CHANTS II a reality. Jonathan Goldman Jonathan Goldman is an internationally known writer, musician and teacher. He is an authority on sound healing and a pioneer in the field of harmonics. Jonathan is the author of HEALING SOUNDS, SHIFTING FREQUENCIES and THE LOST CHORD. He ha s studied with masters of sound from both the scientific and spiritual tradition s, incorporating this knowledge and energy into his teachings and healing music. These award winning recordings include: Chakra Chants and The Lost Chord. Jonathan is director of the Sound Healers Association in Boulder, Colorado. Jonathan teac hes throughout the world. Sarah Benson is a master teacher and musician who has imparted the loving energy of compassion through her voice and music for over 30 year. Sarah is a poet, so ngwriter, vocalist and musician whose instruments include flute and piano. Her w ritings include Within the Sound. Her recordings include Flutes of Interior Time a nd Sound of Light . She is the founder of the Earth Sound Light Center in Charlemon t, Massachusetts. Sarah teaches throughout the world. CHAKRA CHANTS II JONATHAN GOLDMAN Produced by Jonathan Goldman Recorded by Jonathan Goldman Mixed by Jonathan Goldman & Chris Allen Cover art: Donald Beaman Graphic Design: Chad Darnell Jonathan Goldman-- male voices, vocal harmonics, overtone chanting, Tibetan Bowls & Bells, Tuning Forks Sarah Saruah Benson All female voices, all flutes, conch shells, rain stick Andi Goldman harp Laraaji Nadananda- additional vocals, shaker, tk. 3, Alec Sims additional vocal harmonics, tks. 3 & 5 Deepest thanks to my wife and partner Andi Goldman for her love and continued su pport. And to my son Joshua Goldman, whose wisdom and compassion continues to gu ide me and keep me young. Thanks also to my friends and fellow teachers; , John Beaulieu, , PJ Birosik, Gregg Braden, , Swami Brahmananda, Steve Brown, Deepak C hopra Tae Darnell and the Etherean Family Dr. John and Ali Galm, Kay Gardner, St even Halpern, Chris James, Tom Kenyon, Randall McClellan, Justin Miera, Laraaji Nadananda Jimmy Twyman and all other beings of light and love whose inspiration, support and guidance helped this and other recordings and projects to manifest. You know who you are, and I am grateful. Finally thanks to Shamael, Angel of Sa cred Sound May Sacred Sound come through us for the harmony of all!

For information on Jonathan s workshops, Spirit Music recordings and other pertine nt material, contact him at Healing Sounds, P.O. Box 2240, Boulder, CO 80306. Te le: (800) 246-9764. Fax: (303) 443-6023. email: info@healingsounds.com. web: www .healingsounds.com. For information on Sarah s workshops or music, please contact her via email: Sarua h@aol.com or write her at: Earth Sound Light Center, P.O. Box 366, Charlemont, M A 01339 Cover: CHAKRA CHANTS II by Donald Beaman. Donald is a mystic teacher and visiona ry artist whose works include the TAROT OF SAQQARA. The cover displays a person illuminated through sound meditation being enveloped by the Shri Yantra, the vis ual representation of the Om . All ratios and proportions of this painting are base d upon the harmonic principles of the Lambdoma Diagram. The cover by itself, or with CHAKRA CHANTS II may be used as an energy balancing tool. (p) 2003 Spirit Music. 2003 Jonathan Goldman

CRYSTAL BOWLS CHAKRA CHANTS Jonathan Goldman & Crystal Tones Liner Notes: You hold in your hands the liner notes to Crystal Bowls Chakra Chants a new record ing that combines two soothing and healing sounds: the tones of the human voice and quartz crystal bowls, both creating sounds to resonate and align the chakras . HOW TO USE CRYSTAL BOWLS CHAKRA CHANTS This recording was created to resonate and align the energy centers of the body known as the chakras. The sounds on CRYSTAL BOWLS CHAKRA CHANTS are designed to create balance in the physical, emotional, mental and spiritual bodies. Sound af fects not only our ears (and our brain), but also our physical and subtle bodies . Because of this, there are a number of different ways in which CRYSTAL BOWLS C HAKRA CHANTS may be used. First, CRYSTAL BOWLS CHAKRA CHANTS may be used as a self-healing and meditation tool. The sounds on this recording assist in inducing not only chakra balancing, but also expanded states of awareness. It is helpful, though not necessary, to focus your attention on the related chakra as the chant for each chakra begins. Listening and meditating in this manner will enhance the experience in the chakr a resonance experience of your sonic journeying. Second, CRYSTAL BOWLS CHAKRA CHANTS may be utilized as a sonic environment for c reating balance and alignment during subtle energy work and bodywork. Along with resonating the chakras, the sounds on this recording will help induce deep rela xation and assist in the healing experience. Playing CRYSTAL BOWLS CHAKRA CHANTS will create balance for all within the listening area. Third, CRYSTAL BOWLS CHAKRA CHANTS may be used as a tool to actively create soun d and learn how to resonate your chakras with your own sounds. These liner notes describe in detail the sounds that are used and how you may create a co-active experience with them in order to create greater balance and alignment within you rself.

Finally, CRYSTAL BOWLS CHAKRA CHANTS may be used for your listening pleasure. Wh ile these sounds may help enhance balance and alignment, this effect can be seco ndary to the simple experience of listening. These liner notes are fairly extensive, containing much information on the chakr as and the specific sounds that were used on CRYSTAL BOWLS CHAKRA CHANTS. THE CHAKRAS I have been engaged in the field of sound healing since the early 1980 s. My initi al investigation into the area of sound healing was the relationship between sou nd and the chakras. The word chakra is a Sanskrit term meaning wheel , for chakras are seen as spinning wheels of light by those with the ability to see subtle ene rgy. The chakras are found in many traditions, including Hindu and Tibetan as we ll as esoteric and occult Mystery School which describe these energy centers. Whil e the chakras have been incorporated in many spiritual practices, their existenc e seems to be based, not upon religion, but upon awareness of energy. There is e ven scientific instrumentation that is now beginning to record and validate them . There are seven main chakras. These chakras are transduction points-- places whe re subtle energy from higher planes begins to become denser as it comes into the body. It next becomes the acupuncture points and meridians and finally, this en ergy transduces into the density of the actual physical body. Imbalances in the physical body can be detected through the chakras. Frequently, healers who work with subtle energy can detect imbalances before they manifest in the physical bo dy by feeling imbalances in the chakras. By balancing the chakras, imbalances in the physical body will often disappear. There is a feedback loop occurring with the energy of the chakras as the physica l body interfaces with this energy and vice versa. An imbalance in a chakra will often manifest later in the physical body. It is possible, such as through a tr aumatic injury, for both the physical body and the chakras to be simultaneously imbalanced. Healing of the physical occurs much more rapidly when the subtle ana tomy--particularly the chakras--are aligned and balanced after physical injury. There are seven main chakras, seven spinning balls of energy that are located ce ntrally in the front and the posterior of the body. The following is a brief des cription of the chakras: The first or base chakra located at base of the spine is involved with the process of elimination and the organs which work with that function. It is associated w ith the energy of survival and with grounding to the physical plane. The second or sacral chakra, located about three inches below the navel and is ass ociated with sexual energy, the reproductive organs and with much of the life fo rce. The third or solar plexus chakra is located slightly above the navel. It is associ ated with digestion and the digestive organs as well as the attributes of person al power and mastery of self. The fourth or heart chakra is located in the center of the chest. It is associated with the organs of the lungs and the heart and the energy of compassion and lov e. The fifth or throat chakra is located at the throat, at the base of the neck. This chakra is associated with communication; speech and hearing, and those organs i

nvolved with this process including the vocal apparatus and the ears. . The sixth or 3rd Eye chakra is located in the center of the forehead above the eye s. It is associated with the brain and its functions as well as imagination, psy chic abilities and mental activity. The seventh or crown chakra, is located at the top of the head. It is associated w ith the induction of spiritual energy into the body. It is said to control every aspect of the body and mind and is associated with full enlightenment and union with God. These are the seven main chakras found in the various traditions. As you ll see in the next section, there are specific vowel sounds, bija mantras, frequencies, e nergies, and elements associated with each chakra as well as different colors. T hese seven chakras are the focus of the sonic resonance utilized on CRYSTAL BOWL S CHAKRA CHANTS. This system has been shown to be particularly effective in term s of having the ability to balance and align the chakras. CHAKRA SOUNDS As noted in the previous paragraph CRYSTAL BOWLS CHAKRA CHANTS utilizes several of the most effective elements of using audible sound and other aspects of energ y in order to resonate and balance the chakras. Of particular merit is a system of sacred vowel sounds that I developed and have utilized for many years. This u se of vowels seem to be highly effective in balancing the chakras. For more info rmation about this, please see the chapter on Vowels As Mantras in my book HEALING SOUNDS as well as my others books including SHIFTING FREQUENCIES. Vowels are co nsidered sacred in many different traditions and Mystery Schools throughout the planet, including ancient Egyptians, Hebrew, Islamic, Tibetan, Japanese and Nati ve American. While there are various systems of Sacred Vowels to balance the cha kras, I have utilized a specific system that came to me many years ago and that I have shared effectively with thousands of people. This system seems to have be come almost universally accepted by those who have worked with it. I next added the Bija Mantras, the Sanskrit letters from the Vedic traditions, w hich by themselves are said to balance and align the chakras. There are silent B ijas and spoken Bijas. The spoken Bijas are chanted aloud in order to resonate t he chakras. As with all systems of using sound, there are variations. Such is th e case with the Bija Mantras. I wish to thank Dr. Deepak Chopra for the specific system of Bija Mantras utilized on this recording. More information on the Bija s is found in TANTRA OF SOUND: Frequencies of Healing (co-authored with my wife Andi Goldman). For the fundamental frequency (or keynote) to use for each chakra I have chosen a diatonic major scale. This basically is a scale very similar to one that is cr eated from the white keys on a piano starting on the note C. This is one of the most popular systems utilized to resonate the chakras. In the context of this re cording, it works most effectively. Of particular interest with regard to sound healing is that the fundamental freq uencies used for this system are harmonically related--that is the notes are the natural result of the geometric vibrations of a given string (brought within a single octave). The tuning is different than that of a keyboard. The notes creat ed are based upon the harmonics created from the fundamental of the note C that vibrates at 256 cycles per second (and then having the harmonics transposed down so that they fit within the octave of that C note). 256 Hz. is a harmonic of 1 cycle a second. Many believe this keynote to be in natural resonance with many o f the frequencies of the Earth itself. Some belief it is a harmonic of the actua l frequency of the Earth.

The following is the system of Chakra Sounds that were utilized for the CRYSTAL BOWLS CHAKRA CHANTS: lst CHAKRA - Root - Muladhara Keynote: C Frequency: 256 Hz. Color: Red Vowel: Uh Bija: Lam Element: Earth Energy: Grounding 2nd CHAKRA - Sacral - Svadisthana Keynote: D Frequency: 288 Hz Color: Orange Vowel: Ooo Bija: Vam Element: Water Energy: Life Energy, 3rd CHAKRA - Navel - Manipura Keynote: E Frequency: 320 Hz. Color: Yellow Vowel: Oh Bija: Ram Element: Fire Energy: Power 4th CHAKRA - Heart - Anahata Keynote: F Frequency: 341. 3 Hz. Color: Green Vowel: Ah Bija: Yam Element: Air Energy: Compassion, Love 5th CHAKRA - Throat - Vishuddhi Keynote: G Frequency: 384 Hz. Color: Blue Vowel: Eye Bija: Ham Element: Ether Energy: Communication, Creation

6th CHAKRA - 3rd Eye - Ajna Keynote: A Frequency: 426.7 Hz. Color: Indigo Vowel: Aye Bija: Sham Element: All Energy: Insight, Wisdom 7th CHAKRA - Crown - Sahasrara Keynote: B Frequency: 480 Hz. Color: Violet/White Vowel: Eee Bija: Om Element: All Energy: Transcendence

INTENT In my books HEALING SOUNDS, SHIFTING FREQUENCIES, TANTRA OF SOUND and THE 7 SECR ETS OF SOUND HEALING, I discuss the importance of intent in the sound healing ex perience. A formula I developed many years ago is: Frequency + Intent = Healing . In tent is the energy behind the sound (the Frequency ) and may be a real key as to the effects of sound--particularly vocally created sound. I believe awareness of in tent will help enhance the sound healing experience and frequency shifting effec t. The intention we place upon the sound truly influences our experience with th e sound. Another formula I created and utilized on CRYSTAL BOWLS CHAKRA CHANTS is Vocalizati on + Visualization = Manifestation. This means that the sound created coupled wi th the visualization one encodes on the sound will assist the manifestation of t he energy of the sound. If one is chanting a mantra to resonate and balance a sp ecific chakra while visualizing that chakra being balanced and resonated, the ma nifestation will be the balance and resonation of that chakra. William, Paul and I employed this formula during the recording process. A third formula I have recently developed for my latest book THE 7 SECRETS OF SO UND HEALING is: Sound + Belief = Outcome . This is another aspect of the previous t wo formulas, even broader and more encompassing in its scope demonstrating how the power of belief truly affects the outcome of the sound that is created. During the recording of these various sounds on CRYSTAL BOWLS CHAKRA CHANTS , our i ntention was focused on each chakra, visualizing the chakras resonating with the sound and feeling the energy vibrating in the chakra areas so that this energy could be encoded onto this recording. Ting-Shas and Fractionation This recording is quite trance inducing. Because of this, it s very easy to get lo st in terms of which chakra is being sounded. We have found that while CRYSTAL BO WLS CHAKRA CHANTS works on its own without special attention by the listener, the effect of this recording is greatly enhanced by helping the listener locate whi

ch chakra they are on. We ve done through the use of Ting-Shas Tibetan Bells. As noted, each of the chakra sounds on CRYSTAL BOWLS CHAKRA CHANTS utilizes a diff erent Sacred Vowel, Bija Mantra, and Tonal Center to create resonance and balanc e. The psycho-acoustic sound on CRYSTAL BOWLS CHAKRA CHANTS also enhances altere d states of consciousness. This can make it easy to forget which chakra is being resonated. In order to facilitate more conscious awareness of this journey thro ugh the chakras, you ll hear the sound of Ting-Shas Tibetan bells which will ring at the beginning of each new chakra. The bell will ring for the appropriate number of times for that chakra. For example, there will be one bell ring for the firs t chakra and seven bell rings for the seventh chakra. When you hear the bell, it may be helpful to bring your attention to that chakra. The sounds of the Ting-Shas serve two purposes. The first is to help the listene r locate which chakra is being sounded. The second is that it assists the proces s called Fractionation . Fractionation is a technique developed by Dr. Milton Erickson, M.D. (father of h ypnosis) and also adapted by NLP (Neural Linguistic Programming). It is a trance induction technique whereby one induces an "altered" state (such as listening t o the sounds of the crystal bowls with the chakra chants), then breaking it with some tangential sound (in this case, the sound of the Ting-Shas). Then one repe ats or resumes the induction the soothing sounds of the bowls and chants. A listen er will go back into the trance state more quickly and deeply than before. The a pproach also trains the mind to access the "altered" state with more ease. Thus, in addition to marking the segments of the specific chakras, the use of ri nging Tibetan bells during "CRYSTAL BOWLS CHAKRA CHANTS " recording serve the sa me purpose of actually heightening the powerful trance inducing effect of this r ecording. . GUIDED VISUALIZATION CRYSTAL BOWLS CHAKRA CHANTS was initially created as a tool for frequency shifting in order to create balance. I have found that it is a powerful tool for self-tr ansformation and healing. If utilized for this purpose, if possible, listen to i t in a place where you will not be disturbed. In addition, for gentle balance, C RYSTAL BOWLS CHAKRA CHANTS works nicely as a sonic background in rooms or even o ffices and may be used in such places. If you would like to chant along with CRYSTAL BOWLS CHAKRA CHANTS to resonate your own chakras, it is my belief that active participation in the sound experience can only enhance your experience of sound. The various formulas described previo usly reveal an ancient secret from the Mystery Schools found in the major spirit ual and magical traditions. By adding visualization, intention and feelings to t he sound, the effect of the sound becomes more profound. Thus while CRYSTAL BOWLS CHAKRA CHANTS is powerful by itself simply by listening to it, the recording bec omes even more powerful through working with visualization, intention and feelin g while sounding along with it. Whenever you work with self-created sound, make the sound in a gentle and relaxe d voice. Do not strain yourself. Remember bigger is not better, nor is louder ne cessarily more powerful. You will be amazed at how little effort is required to create a sound that can shift your frequencies. Choose either the Sacred Vowel o r the Bija Mantras to work with at first. After you have successfully worked wit h either the Sacred Vowels or the Bija Mantras, you may try to combine the two. Through learning to work with your own sounds using the CRYSTAL BOWLS CHAKRA CHA NTS you can take an active part in the frequency shifting experiences. Once you

have balanced and aligned your chakras through sacred sound, it is important to sit quietly and receive. Silence is an essential part of the sound healing pheno menon. Honor it. Respect it. And work with it. Frequently, it is in the time of silence when the greatest changes and frequency shifts occur. CRYSTAL BOWLS CHAK RA CHANTS runs for approximately70 minutes . If possible, after that give yourse lf additional time for silent meditation, feeling the totality of clear white li ght pouring into you. CRYSTAL BOWLS Along with the human voice, one of the most powerful sonic tools available is qu artz crystal singing bowls. The singing bowls emit a pure and powerful resonance . Played with a suede mallet rotated around the rim, they produce a profound and powerful resonant frequency that has the ability to heal and transform. Just th e sound of one bowl alone is able to clear negative energy from a room. Since the 1980s crystal bowl popularity has grown tremendously and are now used by all types of people--sound therapists and healers, massage therapists, Reiki Masters, musicians and those who use them to add clarity and depth to their medi tations and personal rituals. Even medical doctors such as Mitchell Gaynor, M.D. , Medical Oncology Director and Integrative Medicine Director at the Strang-Corn ell Cancer Prevention Center, and Andrew Weil, M.D., have acknowledged their the rapeutic value and use them in their practices. William Jones and Paul Utz of Crystal Tones, Inc., are pioneers in the creation and development of these extraordinary crystal bowls and associated healing work . This new CD offers a sampling of many of these unique types of bowls played by Paul and William and integrated with some of the Healing Sounds from my award w inning recording of Chakra Chants Quartz crystals seem to work as amplifiers of intent and are therefore extraordi nary vehicles for amplifying intent through sound. They are wonderful healing in struments to use in ceremonies or rituals to set a particular intention. We ofte n use our crystal bowls when toning together in meditation and for a specific in tention. They also have an astounding ability to clear an area of negative energ y. The singing bowls utilized on this recording are made from pure quartz in a larg e variety of types from the original Classic Frosted bowl to Clear and Ultraligh t bowls and more recently the mineral and gemstone-embedded Alchemy Singing Bowl s. Singing bowls are available in all notes and in sizes from 6 to 22 inches. Ma ny of these bowls were developed by William Jones and Paul Ute. The Practitioner Bowls with quartz handles greatly facilitate ease of movement and are used by s ound and energy practitioners for body therapy. The newer Alchemy Bowls use Rose Quartz, Amethyst, Diamond, Citrine, Moldavite, Platinum and Gold to transmit th e frequencies of these gemstones. The quartz vibrations give voice to these minera ls and gemstones. Also, the notes and bowl colors used for this recording corres pond to chakras and activate and balance these energy centers within the body. Before and during this recording, William and Paul attuned themselves with the h ighest energies and intentions of light and love in order to become the greatest conduits for using sound as a healing modality. I believe that these powerful s onic vibrations add significant dimension and intention to my original work. I a m gratified that these new tools have become available to me as a musician and r ecording artist. Crystal bowls are wonderful sonic tools they are beautiful and powerful sonic tool s for creating awareness and raising conscientiousness. In terms of tone and abi lity to transmit intention, they are among my favorite. The combination of crystal bowls and chakra chants make an extraordinarily power ful sound experience that enables the listener to synchronize and attune to the amazing energies of the bowls and voice experiencing powerful healing and transfor mation. Jonathan Goldman

Notes On this Recording From Crystal Tones We knew we had discovered something profound when we played our first crystal bo wl. Over the years we have engaged in a joyful journey of creating all types of crystal singing bowls and now have the privilege of sharing them with the planet . Mother Earth has blessed us with quartz crystals--we have simply given them a new form and voice with intention to serve those who listen and are open to the bliss and peace of their transformational vibrations. Crystal singing bowls are tools of entrainment, a process whereby quartz energy frequencies are synchronized throughout the body. With entrainment, plus the rhy thmic tonal sounds, listeners enter a realm of blissful meditative states. They amplify what you already are and morph us into new and dynamic thought patterns, words and actions. Our bodies, the great attenuators, enables the Soul to perce ive and act in the realm of material experience. Crystal Bowl Master Alchemist Jun Makino from Japan has stated: We see consciousn ess shifts brought on by the constant rhythmic overtones of Tibetan Buddhist cha nts. By toning with crystal bowl frequencies, listeners can attain similar shift s of conscientiousness. For us, time and time again, meditating and toning with crystal bowls has caused us to swell with the bliss of divine connection and the inner knowing of our pa rt in this great matrix. We are blessed! We express deep gratitude to Jonathan Goldman who have found it appropriate and empowering to incorporate crystal singing bowls into this new release which inco rporated aspects of his classic award winning recording Chakra Chants, From our pe rspective it enabled us to create an even more powerful tool for meditation and conscientiousness raising. It is rare that a classic such as Chakra Chants could b e improved upon, but crystal singing bowls are a rare tool and they have not esc aped Jonathan s intuition and genius. William Jones and Paul Utz Alchemy Singing Bowls used in this recording: Laughing Buddha joy, laughter and relaxation Smokey Quartz grounding and balancing Androgynous Indium Violet integrating male/female aspects of self Ocean Indium Violet longevity Color Therapy a rainbow of healing Solid Gold Therapeutic owning our divinity White Gold Alchemy imagination within the inner child Tibetan Quartz Therapeutic - a catalyst for transcendence Solid Silver Therapeutic - creates sacred space Solid Gold Classic Frosted royalty, success and soul expansion Rose Quartz love, assistance in relationships and tension release Moldavite financial abundance in the other world Amethyst expansion and focus Ruby nobility, spiritual wisdom and wealth Citrine expands and maintains wealth Aqua 24K Gold - transmutes blockages, balances the analytical mind Mother of Platinum Goddess of Love Ocean 24K Gold loving communication, enhances immune system Egyptian Blue ancient wisdom Grandmother honors the divine feminine

 Grandfather wise, patriarchal energies Indigo clears mind, frees the past We trust that the combination of our sounds and energies together will create a very special musical addition to the field of sound healing and help resonate an d transform ourselves and the planet. Open to your love and intention as you lis ten to CRYSTAL BOWLS CHAKRA CHANTS and know that grace and peace unfold within you . Jonathan, William & Paul Jonathan Goldman is an internationally acclaimed pioneer in the field of sound h ealing. A teacher, author and musician, his books include HEALING SOUNDS (Inner Traditions), SHIFTING FREQUENCIES (Light Technology), TANTRA OF SOUND (Hampton R oads, co-authored with his wife Andi Goldman, the 2005 Visionary Award Winner for Best Alternative Health book) and his latest, THE 7 SECRETS OF SOUND HEALING (H ay House). A Grammy nominee, his best selling albums include: THE LOST CHORD , HOLY HARMONY , DE-STRESS and ULTIMATE OM . His 1999 CD CHAKRA CHANTS was the Visionary Award inner for Best Album of the Year as well as Best Healing and Meditation Album . He is Director of the Sound Healers Association and President of Spirit Music in Boul der Colorado. Jonathan presents Healing Sounds Seminars throughout the world. Fo r information on Jonathan s workshops, Spirit Music recordings and other pertinent material, visit his website: www.healingsounds.com, or phone: (303) 443-8181, I nt l (800) 246-9764. Fax: (303) 443-6023 or write him at P.O. Box 2240, Boulder, C O 80306. William Jones and Paul Utz, musically known as Crystal Tones, are world renowned for their major developments in the arena of quartz crystal bowls. They have li terally transformed the field of quartz crystal bowls with their unique innovati ons. They are considered to be Crystal Bowl Masters. They teach the therapeutic and transformational uses of quartz crystal bowls. For information on Crystal To nes workshops or music, visit their website: :www.crystalsingingbowls.com or pho ne: 800-358-9492 Int l:: 1-801-486-6833 or write them at: P.O. Box 520956 Salt Lak e City, UT 84152 CRYSTAL BOWLS CHAKRA CHANTS JONATHAN GOLDMAN & CRYSTAL TONES Executive Producers: Jonathan Goldman, William S. Jones, Paul Utz Produced by Jonathan Goldman Recorded by Jonathan Goldman & Crystal Tones Bowls arranged and engineered by Chase Ryan Taylor. Crystal Tones Studies, Salt Lake City, Utah Mastered by Akshara Weave Beingness Studios, Lafayette, CO Original Chakra Chants Artwork: Donald Beaman New Artwork and Graphic Design: Dan Ruesch and Dave Kirby Liner Notes Edited by Andi Goldman Jonathan Goldman: Chakra Chants William Jones and Paul Utz: Crystal Bowls 2009 Jonathan Goldman & Crystal Tones. (p) 2009 Spirit Music, Inc. Administered by Spirit Music Inc. on behalf of Jonathan Goldman and Sound Healers Publishing, ASCAP All Rights Reserved. CRYSTAL BOWLS CHAKRA CHANTS JONATHAN GOLDMAN & CRYSTAL TONES.

Chakra Time 1. Base Chakra Ruby Resonance 10:59 2. Sacral Chakra Ocean Gold 10:23 3. Navel Chakra Citrine Fire 10:29 4. Heart Chakra Rose of Compassion 10:07 5. Throat Chakra Egyptian Blue 10:28 6. 3rd Eye Chakra Indigo Vision 10:35 7. Crown Chakra Diamond Light 10:37 ` TOTAL TIME: 73:53 DO NOT LISTEN TO THIS RECORDING IN A CAR OR WHILE OPERATING MACHINERY.

2013: Ecstatic Sonics Liner Notes What s going to happen in 2013? Much has been written about the year 2012. Much le ss has been written about 2013. It is therefore more difficult to provide conjec ture about this year since very little speculation has been done. I like to thin k that 2013 will be a time of great evolutionary activation the result of a quantu m leap in our consciousness that will have occurred through 2012. One of my most recent releases was titled 2012: Ascension Harmonics . It won the 20 09 Visionary Award for Best Healing/Meditation Album . This CD is an hour long reco rding designed to help initiate inner travels and enhance consciousness to assis t the quantum leap that many envision. While this version of 2012: Ascension Harmonics was new, it was actually based upo n a recording I originally created back in 1987 for an event called the Harmonic C onvergence. I utilized this recording to help initiate vibrational shifts for my self as well as for close friends. Many believe the Harmonic Convergence signale d a transitional time until December 21, 2012, when humankind would take a major evolutionary leap in consciousness. 2012: Ascension Harmonics ended up being a sonic merkabah that would take people t o another level of being. This new recording, 2013:Ecstatic Sonics represents that next level of evolution. 2013: Ecstatic Sonics is a compendium of different recor dings some new, some old, some released, some not that embody what I perceive of as being the energy for 2013. There are chants to divine entities that interface wi th frequencies of consciousness shifting and healing. All of the 18 tracks on 2013: Ecstatic Sonics are linked together with a very spec ial bed of sound I call Ecstastic Sonics , designed to enhance the psychological co ndition of ecstasy, compassion and enlightenment. These Ecstatic Sonics are compos ed of 3 different sounds. The first are frequencies that I created as sounds of the crown chakra to initiate transcendence and compassion. The second are 6 diff erent frequencies (or commutations as they are known), derived by Dr. Peter Guy Manners for the psychological condition of joy and ecstasy. Third are frequencie s I created for this recording that enhance deep states of delta brain waves. Perhaps most unique about this recording is the addition of a composite frequenc y based upon the work of Dr. Peter Guy Manners. This is the composite frequency (called by Dr. Manners a commutation ) of the psychological condition of joy and ec stasy. Underlying the entire 2013:Ecstatic Sonics recording is this composite freq uency of Ecstasy. To my knowledge, it is the first time that Dr. Manners work has

ever been incorporated into a publicly released music recording. Sir Dr. Peter Guy Manners was one of my major mentors in the field of sound Heal ing. An English physician, Dr. Manners began working with the healing nature of sound in the early 1950 s. He was an incredibly learned and intriguing individual who invented the Cymatic Instrument for Cymatic Therapy (now called CymaTherapy ). This instrument was an electronic device that projected a particular composite frequ ency for a specific condition or imbalance into the body. His Cymatic Instrument is able to project over 600 different frequencies. I ve been in this field of sou nd healing for over 30 years, and the work of Dr. Manners and his Cymatic Instru ment still remains at the forefront of the pioneering developments in this field . For further information on the latest developments in Cymatherapy, go to www.c ymatechnologies.com Among the many things that Peter and I discussed was the use of these commutatio ns underneath music that I would create. During the creation of 2013: Ecstatic So nics , I had the idea of utilizing one of these commutations to enhance the energy of this recording. From my perspective, if there was a vibration that most embo died my hopes for 2013, it would be that of joy and ecstasy. Thus out of the man y hundreds of different commutations that were available for me to choose from, I chose that of the psychological condition of joy and ecstasy a state of elation and bliss to be used as the baseline for this recording. Thus, the name: 2013: Ecst atic Sonics . To my knowledge, this is the first time any of Dr. Manners commutati ons have been utilized in a professionally released recording. As noted, there are numerous selections on this CD that have been modified so th at they work together as a continuous flowing vibratory sonic field designed to activate and accelerate consciousness. In particular, the energies of compassion , ecstasy and transcendence were focused upon. For this recording it was almost as though spirit was guided the specific order of these recordings. In hindsight , upon the completion of 2013: Ecstatic Sonics , there are many various ways of und erstanding the sonic process this recording initiates but I am also guided to let you, the listener, simply experience this recording as it is, with little precon ceived notion of how or why it was created in this manner. I will, however, give you some information about the different recordings found on 2013: Ecstatic Soni cs 1. Ecstatic Beginnings 2013: Ecstatic Sonics begins with a tuning fork wave a composite frequency composed of specific tones that are said to resonate and align the chakras. Within the co mbination tones of the tuning fork wave, you ll hear the individual notes climbing up the scale, going from the root to the crown. In addition, the sonic field th at contains the cymatic commutation of ecstasy is apparent. On top of these soun ds comes a choir of choral voices singing the Ah sound. The Ah features the sound is considered by many to the of the heart. It is sung by hundreds of people in the sacred ratio of 2:3. This mantra is said to activate the energies of compassion and love to all who resonate to it. This chant is very much the same as the one on www.thetempleofsacredsound.com, utilized for global sound healing events. Wh en combined, the Ah and these tuning forks creates an extremely soothing and uplif ting sound that begins our journey into 2013. 2. En Lak Ech Originally presented as a chant with drumming on Sacred Gateways: Drumming and ch anting , this is an entirely new version of the Mayan Chant. Since its creation ov er 15 years ago, En Lak Ech has been accepted as a Dance of Universal Peace. The w ords are Mayan: En Lak Ech A Lak En and mean I am another you you are another me!

As

journey into the realm of 2013, it is clear and obvious that we must honor this understanding of each of us being a part of the other. This concept is found in the Golden Rule of nearly every tradition whether it is Do unto others as you would h ave do unto you or Honor your neighbor as yourself . Such an understanding is mandat ory for us as we evolve into higher levels of being. It is universality and Onen ess, not duality and division that embodies the energy of 2013. The sounds of wh ales punctuate the sonics on this recording. 3. Om Ah Hu Original found on the CD Angel of Sound , an invocation to the Heavenly Herald, Sha mael, this chant is from the Tibetan Buddhist tradition. In this version, the vo ice of Lama Tashi from Tibetan Master Chants has been added to my own voice as we chant the Mantra of Blessing together. This mantra is used at the beginning of many rituals and blessings because of its power to purify negativity and amplify pos itive energy, increasing it into infinite quantity. It is a general blessing cha nted before a practitioner engages in any ritual. Om Ah Hum is the mantra of integ ration with the three seed syllables Om Ah and Hu creating the transformative blessing s of body, speech and mind of all the Buddhas. 4. The Divine Code A new recording, this features the sounding of the Tetragrammaton, The Divine Nam e chanted in the frequencies of The Moses Code . I discovered how to sound The Divine Name over a dozen years ago. The original recording of The Divine Name: Sounds of the God Code is featured later on in this recording. The Moses Code frequencies we re revealed to me after James Twyman asked me if there was a relationship betwee n the Hebrew Ehyeh Asher Ehyeh and frequencies. Using kabalistic numerology, I dis covered and determined the proper frequencies and created tuning forks that util ize this. As another project, I chanted The Divine Name using these frequencies. J ames Twyman released The Moses Code Meditation which utilized these tuning forks a long with the voice of Tina Malia toning along with them. When I put my own soun ds together with this, the resultant recording is what manifested. 5. Saraswati s Song This is a chant to Saraswati, Goddess of Music and Medicine. This selection is f rom the CD of The Angel & The Goddess with some alterations. The chant was given t o me by Mr. D.N. Shukla, the renowned sitar master from India. The words to this mantra: Om Namah Shardayai translate as I pay homage to the Goddess Saraswati . Furt her, Mr. Shukla confided in me that daily and repeated utterance of this mantra would put one in touch with the energies of that aspect of Saraswati which enabl ed one to utilize music and sound for healing and transformation. 6. Homage to Ganesha This new and unreleased recording is an homage to Ganesha, the Hindu Lord of suc cess and destroyer of evils and obstacles. He is also worshipped as the god of e ducation, knowledge, wisdom and wealth God of Success. In addition to these attr ibutes, Ganesha, the elephant headed God is the destroyer of vanity, selfishness and pride. He is the personification of material universe in all its various ma gnificent manifestations. Regardless of their preferred deity, all Hindus are sa id to worship Ganesha regardless of their sectarian belief. Thus he unites the t radition because it is both the beginning of the religion and the meeting ground for all Hindus. Featured on this recording is German Sound Healer and Overtone Chant Master Christian Bollman.

7. Angelic Crystal This track is primarily composed of Angelic Calling from the Chakra Chants 2 with ad ditional sonics from the 7th Chakra of Crystal Bowls Chakra Chants . The energy and intention of this particular piece was for the Crown Chakra the chakra associated with connection to the Divine. This track features mantras, sacred vowel sounds and many other frequencies that resonate with that chakra. It is a powerful pie ce of music that embodies the transcendence of the Crown Chakra. Among the playe rs on the recording, besides myself, include Sarah Benson, Andi Goldman, William Smith and Paul Utz. 8. Tantra of Tara Tara is the Tibetan female Boddhisattva of Compassion. She is considered to be t he Mother of All Buddhas and is the most popular female deity in the Tibetan Buddh ist Tradition (this mantra is said to be the Dalai Lamas favorite chant). There are 21 Taras and this mantra is to Green Tara, who works with generating protect ion and compassion. This mantra translates as I pay homage to the energy of Tara . Originally from Trance Tara , this enhanced version contains the addition of the wo nderful vocals of Chloe Goodchile, one of the United Kingdom s most extraordinary vocalists, who is well known for her ability to use sound to assist the transfor mational energies of peace as well as the vocal harmonics of Christian Bollman. 9. Om Mani Padme Hum The original version of this chant was presented on Sacred Gateways: Drumming and Chanting . This entirely new version of the Om Mani Padme Hum chant truly embodies the energy of the mantra of the Avalokitesvara (Tibetan: Chen Rezig), the male a spect of the Boddhisattva of Compassion. The mantra translates as The jewel in th e lotus . While there are lengthy dissertations on the exact multi-leveled meaning of this chant, I like to perceive of the purpose and energy of this mantra as o pening the lotus of the heart (the heart chakra) to the jewel of compassion. 10. Compassionate Heart This track was first presented on The Lost Chord CD, and on it represented the hea rt chakra. This enhanced version contains the addition of extra sonics, yet, it remains basically the same: incorporating both the mantra to Tara and the mantra to Avalokitesvara the two Buddhist Bodhisattvas of Compassion. While these two ch ants are normally performed individually, I felt that their energies were very s imilar and would work together as an honoring of the perfect union of male and f emale energies and thus created this recording, working with the renowned engine er Akshara Weave. 11. Wisdom Sutra The Heart Sutra is said to be one of the most important teachings in Tibetan Buddh ism. Also called the Heart of Wisdom Sutra , the words of this chant summarize much of the essence of a many thousand verse teaching on the concept known as inter-d ependent origination the idea that everything is interrelated with everything else. Everything is relative. Nothing by itself is as it seems. The mantra Gate Gate Pa ra Gate Para Sum Gate Bodhi Svaha literally translate as Gone, gone. Gone beyond. Gone beyond the beyond. Hail to the Awakened One and tells us that Form is no othe r than emptiness, emptiness is no other than form. These words and their meaning embody the essence of our inability to definite reality in cogent terms. It is s aid that merely listening to this chant can help bring us to enlightenment. The original version of this chant is from Medicine Buddha .

12. Empowering the Light This is an altered version of Cho-Ku-Rei from Reiki Chants with many highly differen tiated sonics from the original version. Reiki is a form of energy healing, comp osed of a series of symbols. I was made aware that there were actual chants for these symbols that were said to precede the symbols themselves. I then created a recording of the different chants in order to sonically encode these symbols. Ch o-Ku Rei is the Power symbol with the ability to strengthen and focus the healing e nergy of light that is manifesting. 13. Hermetic Harmonics This track is from the original recording described in the beginning of this tex t. An alternative version of it was mixed, mastered and released in total as 2012 : Ascension Harmonics . These magical sounds what I call Hermetic Harmonics were initial ly created for the 1987 event of the Harmonic Convergence. This event was said t o lead up to the 2012 Gateway. Indeed, these sounds have always seemed to open a gateway through which our consciousness could travel. After all the frequency s hifting that has already occurred on this recording, it seemed only appropriate to provide this vehicle through which our Light and Love could travel on the Sou nd to new levels of being. 14. Gayatri Mantra Many consider the Gayatri Mantra to be the most powerful and important mantra in the Hindu tradition. It is considered the mother of the Vedas the sacred texts and one of the most auspicious mantras for spiritual enlightenment. Gayatri Mantra i nspires wisdom. While there are many treatises written on its complete meaning, this mantra: Aum Bhoor Bhuwah Swaha Tat Savitur Varenyam Bhargo Bevasaya Deeehmah id Hiyo Yo Naha Prachodayat , may be translated simply as "May the Almighty God il luminate our consciousness to lead us along the righteous path". Chanting of Gay atri Mantra removes all obstacles in our path to increased wisdom and spiritual growth and development. This version of the Gayatri Mantra is originally from The Lost Chord and features the pioneering sound healer Laraaji in as the lead chant er. 15. Divine Awakening Many years ago, upon awakening from a dream, I was given a universal sound of Go d created solely of vowel sounds. It was the most powerful sound I had ever hear d or ever intoned and it sounded very much like the name Yahweh , the creator God f rom the Abrahamic Traditions (Judaism, Christianity and Islam). As sounded throu gh the vowel sounds, it brought the energy from the crown chakra down to the roo t chakra and then back up to the crown, going from spirit to matter and then bac k to spirit. This name resonates all our energy centers and unites us with the D ivine. The fact that anyone can experience this resonance, regardless of his or her belief system indicates to me that it is a universal sound. Years later, I c reated a CD The Divine Name: Sounds of the God Code with Gregg Braden. This record ing is from that. I have now written a book, THE DIVINE NAME: The Sound that Can Change the World, which teaches about this remarkable sound and how to actually intone it yourself. 16. Holy Light Like the previous chant, many years ago, I awakened from a dream with a mantra i

n my consciousness. While I did not know what this mantra was, it turned out to be ancient Hebrew letters that encompassed what is known as The Pentagrammaton the f ive letter Name of God. It was said to be the unknown name of the Christ. Shortl y after, I was given a series of frequencies by Drs. Len Horowitz and Joseph Pul eo that were said to be channeled by the Christ energy. I had these frequencies cut into tuning forks. Then on Christmas Eve, I combined the two sounds this ancie nt chant and these tuning forks. This recording, which featured the wonderful vo ice of Sarah Benson chanting with me, turned out to be among the most remarkable CDs I had ever created and was released as Holy Harmony . More recently, I created an ambient recording using these tuning forks, called Waves of Light . For 2013: Ec static Sonics , I combined aspects of both these recordings, which felt most relev ant to follow the sonics of the Divine Name. 17. En Lak Ech (reprise) Many say that the Mayan Time Line is not linear, but spiral, looping back on its elf. Therefore, as we begin to completely this sonic journey into 2013, it is on ly appropriate that we return first to our beginning concept of the unification principle and the energies of En Lak Ech . 18. Ecstatic Completion As our sonic journey nears its conclusion, we end with the sonics that began thi s recording with a focus on the commutation of ecstasy as well as the chakra tun ing forks and Ah sound. These sounds resonate and align our chakras and in particu lar embody the enhancement of the energy of company. With this track, we have co me to the spiral completion of the sonic field of 2013: Ecstatic Sonics and the ac tivation and acceleration of our consciousness. Please note that while 2013: Ecstatic Sonics has track placement points that can b e used to locate individual tracks, this recording has been created and designed to be listened to as a whole. I trust you will enjoy 2013: Ecstatic Sonics and find it as powerful a tool for tr ansformation as I have. Remember, these extraordinary shifts and changes are all about evolution and higher consciousness. I know we can achieve this together j ust as I know that intentionalized sound is one of the major vehicles for achiev ing this. Blessings of Light & Love through Sound Jonathan Goldman Jonathan Goldman is an internationally acclaimed pioneer in the field of sound h ealing. A teacher, author and musician, his books include HEALING SOUNDS (Inner Traditions), SHIFTING FREQUENCIES (Light Technology), TANTRA OF SOUND (Hampton R oads, co-authored with his wife Andi Goldman, the 2006 Visionary Award Winner for Best Alternative Health book), THE 7 SECRETS OF SOUND HEALING (Hay House) and h is latest, THE DIVINE NAME. A Grammy nominee, his best selling albums include: TH E LOST CHORD , HOLY HARMONY , DE-STRESS and ULTIMATE OM . His 1999 CD CHAKRA CHANTS Visionary Award Winner for Best Album of the Year as well as Best Healing and Medit ation Album . He is Director of the Sound Healers Association and President of Spi rit Music in Boulder Colorado. Jonathan presents Healing Sounds Seminars through out the world. For information on Jonathan s workshops, Spirit Music recordings an d other pertinent material, visit his website: www.healingsounds.com, or phone: (303) 443-8181, Int l (800) 246-9764. Fax: (303) 443-6023 or write him at P.O. Box 2240, Boulder, CO 80306. 2013: ECSTATIC SONICS Jonathan Goldman Time: 59:00

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Jonathan Goldman: Chants, Vocal Harmonics, Tibetan Bowls & Bells, Additional Sonic Contributors: Kimba Arem, Sarah Benson, Christian Bollman, Lara aji Nada Brahmananda, Satya Dubay, Andi Goldman, Chloe Goodchilde, Rabbi Auri V. Ishi, Tina Malia, Tierro Malloy, Anna Malloy, Heather Secord, Alec Sims, Willia m Smith, Lama Tashi, James Twyman, Paul Utz, Akshara Weave Created & Produced by Jonathan Goldman Recorded, and mixed by Jonathan Goldman, Spirit Sounds, Boulder, CO Digitally mastered by Tierro Malloy Creative Space Productions, Boulder, CO www.tierro.net Cover Art: by Brian Woodruff, www.empirestategraphics.com Design: Dave Kirby, www.creativeconnectiondesign.com MMX by Jonathan Goldman. (p) MMX Spirit Music, Inc. Administered by Spirit Music Inc. on behalf of Jonathan Goldman and Sound Healers Publishing, ASCAP All Rights Reserved. www.healingsounds.com (303) 443-8181 2013: ECSTATIC SONICS Jonathan Goldman 59:00 Created by Jonathan Goldman, one of the world s foremost authorities on Sound Heal ing, 2013: Ecstatic Sonics is the unique follow up to his award winning 2012: As cension Harmonics. Features 18 tracks of different mantras, chants, and sacred sounds. Creates soothing vibrational energies that heal and transform 1st time ever use of specific frequencies to encode emotional states of joy and e cstasy Experience the sonic energies of compassion and enlightenment These sacred, multi-dimensional Healing Sounds are designed to: Initiates altered states of consciousness and activates heightened awareness Transform you with the energies of joy, ecstasy, compassion & enlightenment Assists vibrational activation and frequency shifts Enhances meditation and relaxation Perfect for rituals, shamanic journeys and the ascension process. BONUS: 20 page booklet containing information on the creation and use of this re markable recording.