Author Archives: bpeck

New Recording Released!! “Clair De Lune” at A432hz

Hi everyone, I have a new recording out, it’s Debussy’s famous “Clair de Lune.”  This piece has been recorded many different times in many different ways and is extremely popular but this is one of very few versions of it recorded at live at A432hz.  It is interesting to note that, at the time “Clair de Lune” was written (1890), the frequency musicians preferred tuning their instruments to in France, was A432hz and in fact France wanted to make A432hz the universal standard but this of course did not happen.

Also to note, this particular take was recorded live during the blood moon eclipse on October 8, 2014.  “Clair de Lune” translates to “Moonlight” and so I found it rather appropriate that this recording was captured during a this particularly important astrological moment.

I hope you all enjoy this recording and hopefully there will be more to come soon.

-B

Interpreting You Through the Amalgamation of Self Reflection

 

 

“Who are you?” said the caterpillar.

This was not an encouraging opening for a conversation. Alice replied, rather shyly, ‘I — I hardly know, sir, just at present — at least I know who I WAS when I got up this morning, but I think I must have been changed several times since then.”

Lewis Carrol – “Alice in Wonderland”

—–

The body is a vehicle, or, more specifically, a physical reflection of Your conscious experience. 

You are the driver of that vehicle.  

So…

Who are You?

You are the physical accumulation of all Your conscious experiences interpreted through the physical body and according to your desired expression.

You are not your body.

The physical body is an ever-changing visual represntation of Your moments all of which are intersecting and interacting billions of times per day.

Picture this…

The body is more or less a transmitter ready to interpret.  Consciousness is the open web of thoughforms vibrating constantly and which connects us all together.  The potential of the imagination and of consciousness is limitless and neither the physical body nor conciousness are You.

You are simpy driving the vehicle known as the physical body and You are the one who must navigate the web of confusion that is the third dimension and it is the third dimension that is primarily understood through the physical.

When you are born, you enter as a new physical body ready to interpret new experiences and tell a new story; A blank slate if you will.   And, in this moment, your physical expression then immediatly begins to be shaped and influenced by experiences which reflect themselves back at the world via your body’s ever-changing behavioral patterns.

These behavior patterns begin to define who You are to other people.

But it is still not really You.

As Your physical self begins to gain experience and grow the depiction of who You are begins to change in conjunction with the growth.

This means You are literally a different version of You to each-and-every person with whom You interact no matter how influential or non-influencial that person maybe be to You.

You are a different version of Yourself to your mother, your father, your teacher, your co-worker, your friend, your lover, your boss and the rest of the collective-expression in which you reside.

Nobody knows the real You, all they have is an idea of who You are based off the shared moments.

A very entangled game of deception.

The true You, or what is known as your higher-self, is always learning via this rather complicated and connected physical process.

Essentially You are an interpretation that is constantly interpreting and who is is constantly being interpreted.

One out of approximately seven billion who are equally as physically connected.

It is in this realm that you realize You really are a Universe residing within a greater Universe and part of a Multi-verse that is always expanding and contracting.

A very sophisticated Art project known as Humanity.

Understand that Your phyiscal reflection is a very powerful transmitter of energy that is under enormous pressure from a wide-array of influences and these influences are continuously morphing and shaping your physical body into many different variations of You within the collective.

It is only You who have the ability to sift through the collection of choices presented to You at any given moment.

So choose carefully and choose which one works best for You and, therefore, which one works best for the Collective of which You are a part and, that which, is continuously impacting You.

All beings that reside on Earth are mere manifistations of what’s possible and each individual person is a representation and the result of countless cause-and-effect possibilities.

This is why it is important not to harshly criticize or judge others.

They are merely a reflection of You and of Our own collective creation.

Lean through each other and learn about what You are expressing.

Then change.

Always.

For every single one of us is dynamic and in motion never to succumb to a state of stagnation and rigidity.

Use each moment to express, to create and to help others with their own expression and potential as You are Them and They are You.

It is only through each other that we learn about who We are as a whole and, thus, the truth about Our collective potential as unique and individual Creator beings.

Reflect the possible for it is only through the awareness of connection that we will begin to transcend our own personal limitations and appreciate each individual person for what They truly are…

You.

-B

Escaping the Cerebral War Zone of Density

 One of mankind’s great themes is that of density.  An obsession with the notion of pressure.  That we are all under pressure, under stress, uptight, depressed, compressed, boxed-in or essentially confined.

As a collective we have many different ways of describing the same sensation; an unbearable weight, manifesting first in the mind then fed uncontrollably by a perplexing void known as the subconscious.  This sensation can leave us in an utter state of bleakness; A hole from which we can not escape.

Counter to this feeling are the much sought-after states of lightening up, loosening up, unwinding, softening up or going with the flow.

Our subconscious, otherwise what should be known as the collective-conscious network, gives us constant reminders about who we really are and what is really going on.

We live in the third dimension, a rather dense experience, and with this experience comes a myriad of problems, ranging from the physical (headaches, muscle aches, stiff back, arthritis, inflammation, etc) to the mental (stress, depression, confusion, exhaustion, the list goes on.)  It seems that one of the common goals we all share is that of finding a sought-after state of fluidity and lightness which only seems to appear for a moment at a time.

Welcome to the war zone.

Music, which almost always acts as a collective-consciousness barometer, is literally littered with clues about true state of being.  The Beatles “Come Together”, Alice n Chains “Down in a Hole”, Michael Jackson’s “They Don’t Really Care About Us”,  Joan Osbourne’s “One of Us”, Pink Floyd “The Wall”, Bob Marley “One Love”, Queen’s “Under Pressure”, or The Beach Boys “Good Vibrations”, to name a very few.

Lyrical music has always been a strong crutch in times of desperation.  It is an art form that quickly connects us to the web of consciousness and the Universe’s core construct material; Sound.

The state of being uplifted or raised up is a much sought-after experience, a subconscious desire to escape the unspecified battlefield in which we all seem to be trapped.  The secret of escape lies in our ability as people to rise above all lower-vibrational planes such as ego, separation, alienation, selfishness, etc and acknowledge our vastly superior and more constructive similarities with each other.

We all struggle.

We all have demons.

But we can escape.

An existence void of depression, anxiety, confusion, and density, can exist.  All of these negative human characteristics are not a necessary part of our experience, but rather, act as an anomalous part of our psyche, one which we must “rise above.”

Do not feed the cancer.

All thought forms are connected on the unseen field of consciousness and each one of those thoughts has a vibrational effect that can be felt.

Release the pressure.

It is important to recognize that we all suffer in this dense experience.  Therefore we must support one another.  Hold hands.  Smile.  Avoid harsh judgment.  Reach out.  Meditate.

Break the entrapment of fear.

Connect.

This releases pressure and allows for constructive thought patterns to flow freely.  When freedom of expression and the exploration of knowledge takes over, periods of enlightenment then blossom.

We are not doomed to a life of individual misery and endless isolation.  We do not have to be trapped in our personal, cerebral prisons.  There is far more for us, as a collective, to experience.

The levels of counterpoint are vast and unconfined but the achievement of unity can not be successful without mutual embrace.

The goal is harmony.

A transition towards a raised level of connection.  A more enduring experience beginning first in the heart, then processed by the mind and finally interpreted through the body.

Once we escape our individual prison cells we can then be free to experience the joys of a raised, collective experience.

Otherwise known as a higher dimension.

Or a surpassing of time and space.

-B

New Recording Released!! Chopin Etude Op.10 no. 1 Recorded at A432hz!!

Hey everyone, I just finished recording Chopin’s etude Op. 10 no. 1 at A432hz.  I have to say that I learned a tremendous amount about the piano and piano technique while embarking on this study and I wanted to take a moment to speak about what I learned.

The Chopin etudes have always held a very special in place in the piano repertoire and, for that matter, in the entire repertoire of music.  Frederick Chopin was a composer who devoted almost his entire output to one instrument, the piano.  He revolutionized the context in which musicians after him would think about the instrument for it would know longer be a simple keyboard but rather, it would be forever recognized as instrument with seemingly limitless potential.  This is, after all, what the Romantic era about, limitless potential.

The word etude essentially means “study” and Chopin originally wrote twelve of these studies to advance ones musical and physical potential at the keyboard.  This would be his tenth opus hence the abbreviation, Op. 10, and this etude would be his first in this series.  When Chopin wrote these etudes, at the age of nineteen, he wanted to write twelve exercises that, when practiced, would give a pianist all he or she needed to strengthen their hands.

However Chopin had a very different approach towards piano technique then his western colleges.  Chopin, for example, embraced the idea of practicing only three hours a day, using the body as a whole rather than isolating only the fingers, studying the human voice as the ultimate guide for proper voicing and preaching the importance of balance and suppleness.  He was very original in his thought process and one must take this into consideration when learning Chopin’s “studies” because they are ultimately a reflection of his philosophies, especially regarding piano technique.

Chopin was obsessed with relaxation and this etude I discovered is really an etude in relaxation.  The piece itself is almost a reflection of water or a waterfall, it has a very fluid sound to it almost, in a way, very much foreshadowing the French impressionistic era that would follow Romanticism.  This idea of relaxation, fluidity, liquidness ran throughout my mind while trying to conceive of an interpretation to this piece.  It wasn’t so much the speed that mattered but rather how supple can the fingers get.  I wanted to see how far I could stretch the hand, get them to, like one once said when watching Chopin himself play his pieces “open up like the jaws of a snake.”

This etude, I found, was really a stretching exercise or a warm-up towards what was to come.  Of course when studying the second etude on realizes that, in fact, it is almost the exact opposite.  It is all about contraction, contracting the hand.  And so one must learn the two together so their is balance.  Wide stretches with the first etude and then condensed contraction with the second and after warming up with those two you can then continue on with the other ten etudes.

Another important element in this particular etude are the accent marks a top each 16th note in the measure.  These are especially difficult to bring out but a very important clue as to how to play this piece properly.  Chopin would say, during his lessons, that the pinky finger or fifth finger is the most important finger of all and this etude confirms that belief.  The fifth finger is essential to voicing as it acts as the “voice” of the chord when phrasing or voicing most passages.  This piece has, buried within, a beautiful melody begging to be brought out and phrased.  When one focuses on the accented notes or melody, one naturally obtains the proper technique for the piece which is heavy emphasis on the pinky coupled with a quick but fluid contraction and expansion of the hand.  If done properly one begins to develop a very watery sound.

The last thing I wanted to consider while performing this piece is Chopin’s idea of rubato.  Rubato is an extraordinary musical concept one which Chopin himself made famous.  Essentially it is generally referred to as “robbing time”.  It is that mystical sound most found with singers, the idea that of an inner rhythm that is felt rather than metronomically adhered to.

Chopin popularized this sound in the Salons when he performed and it is not to be underestimated when trying to properly interpret his music.  Keeping to the idea of this piece have a watery feel to it, I wanted to let it breath and sing out.  I wanted to find the pieces inner pulse.  This almost required me to slow down and speed up, expanding each arpeggio then contracting, very much in alignment with my physical hand.  Expansion and contraction, it is the running theme to this study, or stretching exercise.  Letting some arpeggios go very fast and then some slow down, so long as the hand is supple and always stretching the piece seems to be breathing.  As I did this I noticed I could play this etude very hours very easily, never getting tired and my pinky seemed to be getting stronger acting as the balancing point or pivot for my whole hand.  This approach also seemed to fall in line with some of Chopin’s own writings about the etude.

Of course I still feel like I have a long ways to go as these pieces (all twelve) are limitless in their depth.  I intend to record the second etude very shortly as I found the process of learning that etude equally as interesting.  But for now I hope you enjoy this recording of Opus 10 no. 1.  It was done very early in the morning (7am) and was recorded in one take so I hope at some point to have a better one out, but this works for now :).

Oh, and of course it is recorded at A432hz which was equally as interesting to work with and I feel is much closer to how Chopin himself would have heard the piece played as A430/432 was a very popular frequency in Paris at the time.

Enjoy!

-B