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Guy Beider

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Source:
https://bellsofbliss.com/blogs/good-to-know/harmony-has-a-formula

The most important aspect of sound healing is to harmonize the energetic field and physical body of the person you are treating. It doesn't matter if you are a sound healer or if you are just using sound as a tool for meditation, all you want is to align yourself and your client with the sound you choose. So why not choosing the HARMONIOUS source of sound?!

In my practice I use different combinations of tones - consonant and dissonant. It all depends on what goal I would like to achieve with the client. One part of the session I could nourish the person with the most pleasant sonic patterns but then, when I find the client in his or her comfort zone, I may introduce a dissonance in order to pull out the issue. I always have to know what I am doing while remaining open to intuitive solutions based upon each client’s individual needs.

Over time, I realized how important it is to work with harmonically tuned instruments.

Do all singing bowls emit harmonious overtones? The answer is - absolutely not! Does your client know if the bowls you are using are not harmonically tuned? Subconsciously we all know what harmony is! The mathematical proportions and ratios could help us to identify if the overtones present in your instruments are the real harmonics.

https://simple.m.wikipedia.org/wiki/Harmonics_(music)
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RichG

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RichG

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Guy,

How do you define "harmonious"?

If you use dissonance, well, to some people dissonance is not harmonious. To some people's way of thinking, consonance equates to harmonious and dissonance is inharmonious.

I agree with what you are saying above, btw, and I too often use dissonance in my work.... whether it is with bowls, flutes, voice, or other instruments and metals. And I'll use non-tonal sounds as well, like shakers, that are I suppose technically neither consonant or dissonant, though they can be harmonious or disruptive to a client.


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9ways

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What we know from research conducted by Dr. Valerie Hunt, is that we can harmonize the bioelectromagnetic field of others without sound.

But, if you are using sound as an 'influence' or protocol. The manner, the intent, the selection of sounds, the methodology, are all elements of important considerations of the practitioner.

Guy, does point in his testimony, elements of working with sound, that many sound workers overlook, namely consonance and dissonance. And this brings into consideration that the 'client' is also in this state before the sound is even introduced, and how important client assessment is part of the responsibility of the practitioner.

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HimalayanBowls

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Reply with quote  #5 
"Harmony" implies multiple parts. There is no harmony unless at least 2 vibrations interact. It's the relationships between the parts that produce relative consonance / dissonance. If tones are too close together, they overlap in ways that don't sound good to our ears. This is the whole schema behind musical tuning: get the spaces between the notes correct so the tones sound pleasing. When it comes to an individual instrument, as the author says some are more "harmonious" than others. That's because every instrument produces a harmonic series: a fundamental tone and multiple harmonic overtones. The relationships between these parts determines the overall tone of the instrument and whether or not we find it pleasingly "in tune." Harmony is a perception of the relationship between the parts - the physical vibrations. Harmonious vibrations interact differently than inharmonious vibrations. We perceive the differences and generally prefer harmonious relationships. This is why I hand select my singing bowls. Singing bowls produce multiple harmonics and the relationship between those harmonics determines whether the bowl is in tune or not. I select only 1 or 2 out of 100 because I want only the most harmonious, in tune singing bowls. Due to variations in the handmade shape, most singing bowls are not harmonious. I am often shocked by the poor quality bowls used by professional sound healers. Instead of choosing beautifully tuned instruments, many people opt to choose by a theoretical idea: they select a bowl based on the planet tone, selfeggio tone or chakra tone. Sellers measure a tone with a guitar tuner and then say "hey - buy this magic chakra tone." No - I don't think so. It's the relationships between the tones that matters. I always guide my customers to listen and judge the bowl by the tonal qualities: are the multiple tones in tune with one another? Is the vibration pleasing to you? Is it steady? Long ringing? Does it have the mellow and complex quality of a handmade singing bowl, or is it just a sine tone of a brass or crystal bowl? My singing bowls must meet these criteria. Unfortunately, the majority are harsh to the touch and out of tune. So, choose an individual instrument based on its internal harmony. Then combine multiple instruments based on how they harmonize together. If the instruments can be tuned, then tune them to harmonize - that's what an orchestra does. But with singing bowls and other sound healing instruments, they can't be easily tuned so you have to select the instruments carefully. This is why I created http://www.himalayanbowls.com all those years ago. I was building my collection and wanted instruments that sounded harmonious with my growing collection. I wanted to hear how they sounded, so I built the world's first singing bowl shopping website where you could listen and choose the individual bowls. This allowed the world to start selecting tones based on preference. Then sound healers ask me "if I'm choosing a bowl based on my preference, how do I know it will work with my clients?" It will - absolutely - if you follow the advice about harmony. If an instrument is well in tune, it will work for everyone. People get hung up on chakra tones but really the most important thing is simply to have a good quality instrument that is tuned nicely. G, G#, A, A# - the musical pitch does not matter nearly as much as people think. How high or low the tone seems to matter more than the specific pitch. But the overall quality of the vibration matters the most - by far. I'll take a nicely tuned bowl / gong / bell - whatever the tone - all tones are good! All tones are good - it's how tones are combined that creates the experience.
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Guy Beider

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In this article I was talking about the consonant or dissonant appearance of the tones within each singing bowl. I wanted to turn practitioner's attention to the question of which bowl to choose. To me the bowl that has a ratio of 2 or 3 between the first overtone and fundamental, sounds harmonious. The closer the ratio gets to the whole number the more pleasantly I listen to it. Of course the ratios of other overtones play role as well. Some bowls are totally dissonant but yet I like them too. it's just a different aspect of me that resonates with the dissonant tones. The reaction (mental, emotional and physical) these tones are evoking is different. It is not negative or positive, it's just a different quality.
Recently a friend of mine sent me an article in Russian about the perception of indigenous tribes of Amazonian jungle to consonant and dissonant combinations of tones. The author was saying that based on his observation the jungle people weren't really able to tell the difference between two aspects.
I wonder if it's true and if yes, why?
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RichG

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Reply with quote  #7 

Quote:
Originally Posted by Guy Beider
Recently a friend of mine sent me an article in Russian about the perception of indigenous tribes of Amazonian jungle to consonant and dissonant combinations of tones. The author was saying that based on his observation the jungle people weren't really able to tell the difference between two aspects. I wonder if it's true and if yes, why?

Yes, very interesting question. 
If you find out more, please let us know!

Maybe because the sounds of the natural world are not inherently consonant?
The harmonies in a chorus of birds are ultimately rather dissonant  for instance, and yet they are often quite beautiful and "harmonious" to our spirit and emotions, regardless. So all just "is", and the people of those tribes haven't been trained to separate and specifically hear consonant relationships as different. Just a guess....


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HimalayanBowls

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Reply with quote  #8 
I've also read how some people who live in a jungle all their lives don't know how to interpret seeing things at a distance. I think it was Joseph Campbell who talked about forest people seeing animals in the distance and thinking they were tiny. Maybe it's experience that teaches these things. 
I've often noticed traveling in less developed countries that musical instruments are often way out of tune. I've heard lots of badly tuned bands around the world, but the musicians and the audience don't mind at all.
I think today in America, we are so accustomed to perfect tuning that we are much more sensitive to it. Actually, if you listen to some old music you'll hear plenty of slightly off key singing. But today with auto-tune, everything is perfectly smoothed out. Maybe today's listeners are more sensitive and able to detect when something is in tune. I can't say it's necessarily a good thing. I think some ability to stand dissonance is healthy.
But when it comes to singing bowls and using them with people, I agree with your original comment that it's important to have good harmonic relationships. It creates not only a more in tune sound, it's also a nicer physical feeling.
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