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

“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

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

Despite what is generally believed to be true, there are sounds in space.  Instruments aboard some of NASA’s probes have translated the inaudible frequencies into sounds we can hear.  The results are amazing and further support the notion that we live in a universe constructed through sound!  

Enjoy!

-B

Music, like humanity, has traveled a very strange path.  If you know what to listen for you can actually hear the very development of human consciousness within its harmonies.

Throughout our long, colorful journey, music, in some form or another, has been with us for every step of the way.  Music has almost acted like a perfectly transcribed documentation of our collective vibration.

It is interesting to note, that, prior to the invention of the grammaphone there was very little known or understood about all the different varieties of music on our planet. And, up until about World War two, most people heard very little of the entire music collective.

As humanity travels it’s path it leaves behind a signature and that sound signature is best represented as our collective musical output.

The history of that output is as beautiful as the story of man.  Primitive at first, using instruments carved directly from the earth but, as humanity grows, our voice modulates and, thus, begins mirroring the very same story its recording.

It is no wonder that the post-renaissance period is defined through a conflicted, labyrinthian web of complexities for it is, in this period, that we discover humanities obsession with the ornate, the constructed and the dissonant.

Dissonance, after all, is the most human sound.  It’s the sound of friction; Of suffering.  A dischordant bite into the stability of the pure.

And as time passes, it weaves between the adventurous and the structured instilling order to the once chaotic and focused clarity to the consistently mad.  The world experienced perfection as raw simplicity in the classical period and teetered on the precipice of an expansive revolutionary outburst soon to be known as the Romatic era.  A surge of artistic expression which would stem from the heart of Europe and spread as far as the Americas.

Enter the industrial era.

The era of money.

Our sound evolves.

From the bold and bizarre blossoms a new paradigm through which the walls of tonality would crumble and new theories would emerge.

It is in this period that modernism comes into focus and dissonance truly becomes king. Key signatures be damned, Poly-tonality and bi-modality seep into the ears of the whole while intermixed with the noise of the city, the birth of jazz and the sounds of pop.

Thus, the experiment continues.  Globally.

Music, like consciousness, never stops expanding.  It is alive and pulsating.  Constantly mirroring our own imaginations through its dynamic reflection.

For to be human is to agree to an ever-expanding experience of the quantum.  Limitless in its potential to express the inexpressible and forever in the throws of what truly is, a never-ending story.

-B

Kymatica is amazing breakthrough movie!! This movie will open your mind to brand new theories about consciousness and frequencies that will no doubt change the future of our planet.

Please take an hour out of your day to give this film a chance.  It is very well organized and demands a level of respect simply due to it’s brilliant connecting of dots.

Our planet holds secrets, those secrets are real.  The truth is coming out because of movies like this.

Please do not disregard a movie because it is not found on mainstream outlets.  Some of the best works of arts were unknown to the public at the time.  

Mainstream outlets are corrupted by money.

Small projects like this are created by people with deep thoughts, big hearts and passion.

Take a moment, relax, unwind and push play.  

Truth has a frequency.  It vibrates.  You can feel the truth literally resonate inside you.

Don’t ignore it.

-Brian