Zen Flute Practice

ZEN FLUTE AS A PRACTICE

The recorder as a Baroque instrument
is not now and never has been of
interest to me. In fact the first
time I had one in my hands was when
I investigated the box containing a
rosewood recorder that had been left
to me by Morgan just before she passed.

It lay in a beautiful antique box
with a shelf below and a double door
on the top, probably originally intended
as a tabletop jewelry box. I opened it
and examined the recorder within. There
was a plastic recorder in the bottom
section, and a very well-made rosewood
instrument in the top, which had the
number "1960" stamped on each of the
three parts -- I assumed this was the
year it was made or the manufacturer's
model number.

I could make out a name also stamped
on the parts -- "von Heune". I went
to the browser and googled the name.
There was, indeed, a von Huene
recorder company located in Brookline,
Massachussetts, so Barbara and I
called them that morning and spoke
to Emily in customer service.

I described what I had in the box,
and she asked for the serial number
of the hand-made instrument. Now I
understood the number on the parts,
and said, "1960". She left the phone
momentarily, and returned to it in
a matter of less than two minutes with
the information about who had purchased
it back in 1987, a full thirty years
before.

She told us something about the model,
which is no longer made, and gave us
the history. Then she said that she
could not guarantee the sound of a
thirty year old unplayed instrument.
It might be great, it might be terrible,
because an instrument like this, made
of fine hardwood, should be played
and cleaned and oiled regularly to keep
it in good condition.

I told her that I'd never played a
recorder. She said, "Can you get a
sound out of it?"

I struggled it together and tooted
on it a few times, then suddenly it
seemed to come alive of itself, and
I was playing all sorts of sounds on
it, but nothing like the Baroque
tootlings I remembered should come
out of a recorder.

"First of all," Emily said over the
phone, "the tones are very sweet and
I can tell you that you have a very
good instrument there. Secondly, you're
playing it as if it were a Shakuhachi
or Native American flute."

"Is that okay?" I asked. "I mean, will
it ruin it?"

"No, no," she replied. "Lots of people
play it in a wide variety of ways.
Modern recorder artists aren't all
Baroque music enthusiasts and there
are many very avante-garde compositions
for the recorder now."

I learned quite a lot about the care
and feeding of a fine hardwood recorder
from Emily, who studies at a conservatory
near Frankfurt in Germany, where many
of the very best recorders are made
along with the American-made von Huene
recorders which have a world-class
reputation.

She also told me that I would probably
appreciate the Alto recorder as the
instrument of choice -- that the soprano
was somewhat limited in repertoire
and function, and that I might even
prefer the deep tenor, and recommended
that I buy a few plastic recorders to
feel my way through this idea.

I bought a Yamaha alto at Foggy Mountain
Music in Grass Valley that day, and went
into the studio with that and Morgan's
soprano von Heune rosewood instrument,
and cut an album with my friend, the
legendary Grammy-winning sound engineer,
Oz Fritz.

Then a second album emerged, and a
third, and a fourth and a fifth and
sixth and seventh...

I quickly realized the potential of
this instrument as a tool for
transformation. It had the effect of
producing a profoundly transportative
sound environment and a decidedly
strong and deep reaction on those who
heard it both in person and on
Youtube.com, where we posted a few of
the cuts from the albums I'd made over
the week, one album per day.

The music came easy to me. Although
I'd never played the recorder, it was
the same for me as the sax, transverse
flute and guitar -- my Parallel
Universe Personae or PuPs had helped me
to instantly master it, as anyone
with a Beacon could do.

I also noted a very strong healing
effect and had the idea that if plastic
flutes could do this, perhaps the wood
flutes would have an even deeper effect.
I kept in mind that the deepest secrets
of natural magic held by the Druids
was Tree Lore...

The upshot of all this is that I
ordered on approval four fine hardwood
recorders, one in pearwood, one in
boxwood, one in maple and another, one
which had appealed to me when I looked
on their website, the Rippert model
in Grenadilla, a very hard, dense darkwood.

The next day, a large package arrived,
within which were the four recorders.
I spent the day testing each one against
the other, looking for the best total
effect.

The result was that I kept all four,
because it turned out that each of them
had a definitely different effect,
especially in the area of spirit healing.

I also noted that the breath was
controlled in different ways by different
woods, and that the breathing was regulated
and trained even better than in the case of
the plastic flutes, which were pretty good
for that purpose to begin with.

The pearwood had the closest sound to
the Shakuhachi and Native American flutes.
The boxwood was similar in its vibrations
and timbre to that of the Turkish Ney.
The maple reminded me of the sound of
early hardwood flutes I'd heard, and the
von Huene Rippert made of Grenadilla -- that
was really something! It had an otherworldy
sound and was by far the most responsive.

I researched it and discovered that
it is described as "the best recorder
made, bar none," by several very famous
recorder artists. I had to agree.

The instruments had arrived next day air.
It was Thursday when they came by UPS.
By the end of the day I had decided to
hold an impromptu House Concert in my
barn on the following night, so we made
a few phone calls to friends, and Jewel
and Lee went down to Sacramento to pick
up 40 brand new and very comfortably
padded folding chairs. I was sure we'd
have at least that many guests, and we did.

We videotaped the event, which is available
on DVD, and at the same time we put it over
our private passworded video channel to a
few friends who were unable to attend in
person.

I was stunned at the reaction, although
I knew we really had something there...after
two and a half hours of Zen Flute music,
people did not want to leave. When they
finally did file out, they did so silently,
as folks will do having just spent some
time in meditation or Satsang.

I'm on the eve of my second Zen Flute
concert, with my friend Tito Rios,
who plays a terrific classical guitar
and has had many concerts with his wife
and performance partner, Petra.

I can now see several values to the
recorder if played as a Zen Flute:

1. It helps to naturally condition and
train the breath in a relatively safe
way, as compared to the stringent breath
training practices of certain types of
spiritual practices, without the need for
continual supervision.

2. The Zen Flute has a profound
transportative effect on both the
player and listener alike.

3. The Zen Flute can be used to
demonstrate the direct personal effect
of PUPs, which is the almost instant
mastery of the instrument provided by
contact with the Parallel Universe Personae
who are able to play it through the player.

4. Zen Flute sounds are definitely a good
source of spirit healing. Different woods
produce different effects on a variety of
physical, mental and emotional ills and
may assist other healing methods such as
allopathic, naturopathic, homeopathic,
medicine wheel and acupuncture techniques.

5. The Zen Flute opens gateways to other
dimensions and realities and makes possible
a better connection to Parallel Worlds.

6. Integration and stabilization of Parallel
Universe Personae are definitely enabled by
listening to and playing Zen Flute as a
disciplined spiritual practice.

7.The Zen Flute is fun to play, and the
music produced by it is quite enjoyable.

8. Hardwood Zen Flutes are profoundly
better than plastic ones, although if
plastic is all that's available or
affordable, they'll do the job.

9. Zen Flute music opens the space and
softens the membranes, making the Beacon
Practices easier. It can be used while
on the Beacon or while wearing one of
the stronger amulets.

That's my report so far. Stand by for
more experiments and training techniques
as they appear in the aethyrs!!!

gorby

for information, lessons and more go to-
www.gorebagg.com

Be There Then

OPERATING IN A PARALLEL WORLD

Have you ever actually tried the New
Age imperative, "Be Here Now" and
failed? The reason you failed is
because you are already Here Now.
There's no way to get Here from
Here.

Actually the real trick is to Be
There Then...to operate and live
successfully in another world...
unless you prefer the level of
violence and treachery here in this
one, in which case, you need not
ever perfect the skills necessary
to Be There Then.

If on the other hand, you'd like to
learn how to Be There Then, you'll
need to develop certain very definite
skills, and one way to learn them is
to utilize a specific class of videogame.

The videogames we play and recommend
lend themselves to the methodology
of reaching into an entirely different
dimension and operating a character
there from here by a system of remote
control.

Operating a character in a different
dimension or world is not an easy
task, and it is hard to realize that
the world in which the character
resides is very real to that character
if not to you at first.

Eventually you come to cognite on
the fact that when you operate a
character in another world, whether
virtual or actual in your estimation,
you are doing something very real and
that there are consequences that are
very real in the target world.



Some of those consequences will
certainly reflect the situation in
your present Home Universe, and some
of the effects of that other world
will certainly reach you regardless
of where you think you live.

In much the same way that you can
learn to drive a car or fly a plane
using simulation gear, you can learn
to operate in other worlds using
a variety of virtual simulation
worlds such as Team Fortress 2 and
Diablo 2. In our GODD environments,
the simulation is even closer to
the actuality you will experience
as you traverse space and time and
learn to voyage through the veils
and boundaries of this space-time
continuum we call "our universe".

Learning to remote operate a
character in a different world or
environment can help you to overcome
your natural reluctance to lose
the slim margin of control you are
convinced you have over your
present environment.

Notice that I did not say you had
actual control, but most folks are
convinced that they do exert some
control over their lives until
something happens to open their eyes
to the fact that they don't now and
never did have control over themselves
or their lives.

While control is not the issue, it
is the primary force that keeps you
imprisoned in the Home Dimension,
and it is a result of the enforcement
of the Beta-Brain, which was imposed
upon you shortly after you took rebirth
in the universe you call Home.

Learning to operate in other worlds
opens many doors of perception
and shows you that it is possible to
live in other, quite different,
realities and survive. There is no
skill more important than learning
how to operate in many worlds...and
actually many worlds at once!!!

Another way of learning this is to
play our new TABLETOP game, Dungeon
Party, which you can see more about
on-

www.dungeonparty.com

or, you can join us Saturdays and
Sundays on stickam.com/idhhbtv from
6:30-8:30am PST for live online
gameplay, for more information
click here-

www.idhhb.com/official_inner_circle_workshop.html

Tools of The Trade

ELECTRONIC MOJO

One element of the Beta Block Amulet is
commonly overlooked by some, and
observed and acknowledged by others...

It is the "Mojo" of the amulet, in which
we consider the amulet as a magical or
spiritual apparatus, in much the same way
that we would consider a crucifix,
star of David, Chai, Mezuzah, Corno...
or, indeed, any amuletic jewelry worn by
all peoples of all cultures around the
world.

Far and above the scientific principles
of radionics, which are very much fringe
science and not demonstrable by any known
means other than that radio waves exist
and that they do indeed affect the skin,
bones, muscles, nervous system,
brainwaves, thought patterns and
emotional states of all types of
biological life including plants,
beta-blocking amulets have another
mysterious qualitative, unmeasurable
"something" about them.

You cannot prove by any scientific method
known the efficacy of Holy Water, the
Crucifix or Saints' Relics such as the
ashes of ancient Tibetan Holy Men or the
Knuckle Bone of St. Peter....but
they are associated with miracles of
all sorts, and rightly so.

Millions have bathed in the Ganges and gone
to Lourdes...no one questions the Miracle
Power of the Shroud of Turin even though it
has been proven to be no older than the
Middle Ages, and literally billions of
amulets, charms and Holy Relics are carried
by billions of people around the globe.



Amulets, charms and other Sacred Objects
are made in a variety of ways, but all of
them carry in them something far greater
and more powerful than mere
scientifically-accepted "Mojo" or magic.

The Beta-Blocker Amulets I produce have
a fringe science background and are
dependent upon radio waves, which exist
throughout Earth's atmosphere at all times,
permeating everything on the planet with
the full spectrum of radionics, but there
is something more to them than just the
radio wave functions, something indefinable
and unmeasurable...

I call it "Electronic Mojo".

I cannot intellectually and with scientific
math prove my thesis that the slight amount
of radionics penetrates easily into the 11th
dimension at a distance of less than 10 to
the minus 27th millimeter, which is what I
call "One Kaku" of distance, and that it opens
pathways into the branes of parallel universes
which you can travel, but with a little
practice with my inductions, you can prove
this to yourself.

Someday I hope that we will see laboratory
"proof" of this effect, but in the meantime,
the evidence will have to be very subjective,
like the evidence for life after death, near
death experiences, astral projection and
creative visualization among other spiritual
effects and practices.

Blind Faith? Not necessary! Just practice,
practice, practice.


for more info check out-
www.brane-power.com