The Harp in Distant Healing E-Book

Daniel Perret

• Herausgeber: Books on Demand
• Kategorie: Religion und Spiritualität
• Sprache: Englisch

Seitenzahl: 169

Veröffentlichungsjahr: 2020

Beschreibung

The Harp in Distant Healing A collection of texts, most already published as papers and chapters. I have played different harps since 1980, and teach spiritual healing, distant healing and the subtle effects of sound. Can some of the subtle effects of the harp be used in distant healing? What is transmitted in distant healing with the harp? The absent receiver does not see or hear you, cannot talk to you, nor touch you. Anything that could impress them other than the music no longer operates. The great potential of the harp and of similar instruments with resonating strings, was shown to me in 2019 by a group of spirit beings. They specialize in the subject of distant healing with the harp and want to encourage us to discover this potential for the benefit of others. According to them many harpists in the world potentially have a Seraphim energy around their harp, making it possible to send distant healing to humans and animals. Many more harpists can send distant healing to nature and nature spirits of all kinds. I have included numerous experiences and suggestions as to how to understand distant healing and how to adapt our harp playing so it can fulfil the requirements for distant healing as well as possible. Contents: The source of our inspiration; the 5 elements determining the quality of music; 7 levels of conceptualisation of music; doors into improvisation; raising our own vibration.

Leseprobe

The use of musical instruments to help nature and the elementals was apparently known in 16th century Sussex, by people in connection with the contemporary Swiss alchemist and medical doctor Paracelsus. It was known and used in Ancient Egypt and by the Celts on the continent before this. This shows that the practice is rare, possibly because of a number of conditions having to come together for it to work. (see page →)

I have received essential parts of this text and the above text from a group of spirit beings I call the ‘Harp Distant Healing Think Tank’. To them go all my thanks. Thanks to Marie for correcting my English.

Table of Content

Distant Healing with the harp 1

Distant Healing with the harp 2

Getting more feeling and depth into our improvisation

Some doors into improvisation

Quality colors of a person and their fundamental Note

The 5 Elements determining the quality of music

The Source of our Inspiration

The 7 levels of conceptualization in music

Other tonal systems, a brief overview

A brief introduction to subtle energy fields

Four pillars of personal development

Raising our vibration and attracting light beings

Distant Healing with the harp, like prayer, is very simple.

Yet to become simple the road is sometimes long.

What does the harp transmit in distant healing?

The absent receiver doesn’t see you, doesn’t hear you, usually can’t talk to you, or touch you. Distant healing operates in the invisible realm of feeling. Anything that could otherwise impress the receiver does not operate anymore.

Preface

This is a collection of texts previously published either as part of my books or on my website for free downloading. I decided to group them together for those who prefer to hold a paper version in their hands.

My thanks go to Alix Colin and the International Harp Therapy Program who invited me in summer 2019 to teach in Belgium and Holland. This brought about, already during the preparation of those courses, an unexpected contact to a new think tank of spirit beings: The Harp Distant Healing Think Tank. In spring 2019 I also discovered, probably with the hint of that think tank, the energy fields around my harps and what they meant.

I have been studying, researching, and teaching Spiritual Healing and distant healing for 40 years. I bought my first harp, a Salvi pedal harp, in 1981. I have also been sending healing prayers for some years now to nature spirits that were asking. In spring 2019 they began to tell me that they also wanted me to play the harp for them as part of distant healing. Each time I could see on an energy level, that their request was satisfied by my harp playing.

The Think Tank remains with a visible energy pattern – a 315° segment - around my quartz crystal since spring 2019, signaling that they are continuously supporting this research and writing about Distant Healing with the Harp.

Introduction

There is a deep link between the harp and the divine field. Most harpists and people can feel this to be true. This is usually felt in the heart area, which by nature is a link to the spiritual dimension, either to our timeless soul or to the divine field.

I have come to understand, with the help of the Think Tank, that all string instruments with resonating strings, have a distant healing potential comparable to harps: sitar, hammered dulcimer, Austrian or Bavarian zithers, monochords, and suchlike.

Other musical instruments of course do have their beauty and unique ways to spread joy and healing, yet, what I describe here seems unique to these types of string instruments.

Distant Healing with or without the harp is not very complicated. You just need to have a feeling for doing it. There are few other skills on the harp requested than playing with your feelings. Yet, what feelings really are is a vast subject and certainly worth exploring, because feelings are different from good intentions.

The Harp in distant Healing part 1

Little did I know all those years ago when I labelled my work « Music & Energy » how these two words would be the guideline of my research and come together today so beautifully. It was actually my teacher Bob Moore who used these two words together in the foreword he wrote for my first book: « Music – The feeling way ». The ‘feeling way’ catches the essence of how to explore the deeper aspects of both music and energy. Both create an opening to a vastness that words alone cannot describe.

When I met my teacher, I knew instantly that I had to completely change my music. This led me to buy my concert harp. I also instinctively knew that I could not learn to play the harp in a classical or traditional way. I only ever had one harp lesson in Zurich with a great lady harpist called Emmy Hürlimann. She taught me the essential: how to place my fingers and how to change a string on the instrument. You need to know how to tie a special knot with the bass strings. It is as if she knew she would not see me again and that she had to teach me the basics there and then. I just knew that I could not study the harp through classical music or through reading notes.

This ’feeling’ approach to music was not new to me as I had by then spent ten years learning various traditional types of music orally, just by listening and watching. I had been deeply moved by the humility and generosity of traditional folk musicians such as my Irish pipe teacher Willie Reynolds who lived near Athlone. I also saw these same qualities in Appalachian old-time music as played by the New Lost City Ramblers or the Carter Family. I had met a great humanness with those musicians, a naturalness, and a vast respect. Bob Moore himself was Irish and had this same quality.

In 2019 the two strands ‘Music and Energy’ merged in a completely unexpected way. I was shown that one could send distant healing by playing the harp. I have been teaching trainings in the healing aspects of music and sound for many years so I was not unfamiliar with the issue. Yet, what was revealed to me took me entirely by surprise.

It took me many years to trust ‘my’ style on the concert harp as I did and could not copy anybody. Completing a classical or traditional training would give you a type of security of belonging to a musical ‘tribe’. Not belonging in that way to any particular style made me feel at times insecure about where I was going with my harp playing. Yet, I persevered because I began to deeply love the beautiful sound of the harp; particularly its deep notes and the multitudes of harmonics that spread out after plucking each string. I never got into stopping the strings with the flat of my hand as many harpists do. For me this felt like killing the sound. I rather felt drawn to let the harp sing naturally. Independently from my harp playing I have been sending daily distant healing for many years now. This involves a short meditation period where I focus on a list of names, beings and places on earth that require healing. People normally need to ask to be included.

In recent years my interest in healing has developed more and more in the direction of including nature and nature spirits of all kinds. I had not been looking for that at all. They came to me in the form of energy lines converging towards a quartz crystal that incidentally was placed before me on the floor of our meditation room. Fortunately, I had learned how to sense energy with my teacher. I am teaching this in my courses on spiritual healing so I saw that my students could also sense the energy lines that showed at the crystal. They could also observe how all these lines disappeared after sending distant healing.

Energy fields around the harp

In early 2019 I noticed several energy fields enveloping the harp. I could distinctly make out six energy fields for the five elements and a spiritual energy field. I will come back to that. One day I became curious to see whether there were even more energy fields further out around the harp.

I then discovered two more energy fields around it. One appeared to be an astral/mental field reaching up to about four meters away from the harp. Then another field started that is linked to a Seraphim. All this needs to be explained.

Lately during distant healing another energy signature appeared around the crystal. It is a 315˚ segment. Surprisingly enough it seems to be linked to other harpists in the world who are interested by the deeper aspects of the harp. As I had just started to write these lines, this seemed to explain the appearance of that new signature. This made me feel that there was something to be shared. This connection seems to link to a kind of invisible Harp Distant Healing Think Tank or a group of souls and beings researching into the healing qualities of harp playing. I believe that every harpist interested in this subject potentially has access to it and is feeding their understanding (perhaps unconsciously) into that pool of information. Some spirit beings like Saint Cecilia the patron saint of musicians are part of it, as well as a being from Vega that is in the constellation of stars called Lyra. Lyra relates to the Greek myth of Orpheus and the healing qualities of his harp playing. Although some of this information may seem slightly far out, they link to some myths that have a meaning in our context.

Music as well as energy are both normally invisible yet both have their own distinct language with its own particular alphabet. Both are essentially a means of communication not just between people but also in a larger sense with intelligent beings, visible or invisible.

I studied Spiritual Healing with Bob Moore my Irish teacher for twenty years and to a certain extent I learned to perceive and decipher the language of energy. The basic symbols of energy are: point, line, cross/square, circle, and triangle. You find them both in landscapes and with human energy fields for instance.

The way of perceiving energy can be different for each person. This has mainly to do with the individual faculties that we have brought with us right from birth. When we are able to transform ‘gross’ emotional issues we get easier access to faculties like clairaudience, clairvoyance, higher sense of touch, etc. The latter is mostly my way of perceiving energy and I often sense it as columns of energy or directly with my hands. Through using my Hartmann antenna, I can then ask what or who this energy column is.

When energy phenomenon first started to draw my attention around the quartz crystal in our meditation room, I noticed lines converging towards it. I had no clue at first why they appeared and what they meant. The first line stayed for days, so I thought I’d follow it to see if it led to something. It brought me to a water spirit, also called an undine that was about 20 meters outside our house. Having learned how to use a small Hartmann antenna (a small type of dowsing rod) to ask questions giving a yes or no answer, I discovered that the undine wanted to tell me something. She told me that I had written something wrong in my last book that I needed to correct. I had written that the spirit of our valley was situated at the first water source about 300 meters below our house. The undine said that this was not correct, because her well, in the field next to our house was the first or highest source of the valley. When I promised to correct this, she left and the line disappeared. I learned a major lesson: even a small injustice creates disharmony and thus an unbalance.

Since then I have had hundreds of different types of spirit beings coming to the crystal who need some sort of help or action on my part. In the majority of cases I had no idea how to help them other than by saying a prayer. Recently spirit beings told me I could do the same with playing the harp for a specific request and being. Each time the lines disappeared and any other people in the room could easily detect this for themselves.

I have written lengthily about these encounters in my recent book on Earth Healing (French and German editions only, for the moment, but also some information on my website in English). I include the following diagram that may be of help to you. It shows the precision with which these invisible beings manifest themselves. The center point in the drawing is the quartz crystal. The lines show the section of the circle between 0˚ and the line.

Except the first type of lines that are coming from Devas and small elementals like the undine, all other signatures were segments of a circle with precise angles, each type of segment announcing the presence of a specific type of being needing distant healing. Devas are beings that belong to their own Deva hierarchy. They are neither nature spirits in the strict sense of the term nor do they belong to the angelic hierarchy. Devas build the connecting link between nature spirits (elementals) and angels.

Although they often quite willingly gave me information about who and where they were and the type of problem that they were coming with, this became simpler as time went by. They mostly just communicate their presence and request for harp healing and the lines always disappear right after my harp playing. In recent months I use a global healing approach when contacting the crystal in distant healing; I include all the beings, problems and geographic areas that are around the crystal on that day. All of this can also be done without a crystal. I feel that the energy lines also come directly to my own energy field around me. It is just that the crystal allows you to sense and see it in front of me.

The different energy signatures around the crystal took about two years to show themselves one after the other. I worked for example for about two months almost exclusively with regional angels when they appeared. Each one showed me the area of Europe they were covering.

Devas: an intermediary people between elementals and the angel hierarchy. We find a Deva for each plot of land, each tree, group of plants in a garden e.g.; they are directing the myriads of elementals.

Landscape Angels: They are looking after a circular area of a ray of 1 km, directing the Devas. They are part of the angel hierarchy that includes angels of larger areas (50 km ray), of nations and continents.

Elementals: On the smallest scale they are the gnomes (earth), undines (water), salamanders (fire), and sylphs (air). They are imbedded in a hierarchy reaching up to medium, large, and very large elementals that cover most of a country.

This of course brings up a number of obvious questions:

Who is it that helps them come to the crystal? How does that come about? How can I trust what the lines and the Hartmann antenna bring as answers? Who is actually answering? How does distant healing and more specifically distant harp healing operate? What does it really contribute and on what level? Is anyone capable of contributing to distant healing? Can any musical instrument do this? Is there anything particular about harps and healing? What and how should we play for any request?

My sources

I should start by presenting the think tank of spirit beings I have been working with during the last five years. I call them ‘C’ for collegium of spirits. I have written several books together with them. They are my main source. This group of spirits has 12 members in their inner and permanent circle and a number of specialists they can draw upon when needed. They are anchored in Rocamadour, a famous pilgrimage place in SW France. They started operating 1000 years ago under the initiative of Saint Amadour and the Deva Queen of the SW of France. I have described who they are in my book on ‘Earth healing’. (only German and French editions for the moment).

Since spring 2019 I came in contact with the Harp Distant Healing Think Tank. They are guiding the understanding on this particular subject.

Then there are the various nature spirits themselves coming with their individual requests.

The crystal is in itself a transmitter and has a particular being - a Dagda - connected to it. Dagdas come from the Celtic Irish tradition and are related to Indian and Tibetan Dakinis. They seem to be experts on crystals and nature spirits of all kind.

Then there is a new type of elementary beings called elementary beings of the fifth type. Some also call them ‘Christic’ elementals. The four others are the elementals of earth, water, fire, and air. These beings of the 5th type have come into existence in recent years to encourage a co-operation between humans and nature spirits. 7

I occasionally ask other spirit beings, including beings from the angelic realm, when I need to know something that only they could know.

Methodology

Invisible beings communicate with us essentially through energy. In some cases, they are channeled directly through a medium. While their language is precise, our interpretation of what we perceive may be less so. How can we verify who we are dealing with and whether we understand them correctly? We need to use our common sense: is the information that they share uplifting, coherent, consistent, reasonably stable over a period and without contradictions? Do they bring us a better understanding of spiritual dimensions? Is the information raising our consciousness? Does the information bring us anything new and worthwhile for individuals or society? Simply being extraordinary is not enough. Is our interpretation biased by group pressure, to please other people e.g.? Does the source lend itself to be checked out, through asking them directly or through other means of perception like clairvoyance, other practitioners, etc.?

The harp

It seems to me that there is more to the connection between harps and angels than we might at first think. I am quite reluctant to venture into what we may consider to be esoteric. I always feel a need to bring things into an accessible way of understanding. However, the co-operation with the ‘think tank C’ obviously brings us insights from beyond our everyday understanding. I feel they want to underline how much we contribute and mean to them. I have observed that each of my musical instruments seems to have an invisible being connected with it and I wanted to know by whom these beings and instruments were looked after in the spirit world. C had shown me the connection between the twelve archangels, their tasks, and the human chakras. I had understood that Sandalphon was taking care of musical instruments. This scheme recently led me to ask which of the twelve archangels was looking after harps. C told me it was Archangel Raphael whose field of action is healing. They then said that all other instruments were attributed to Sandalphon. The voice, in speech or singing, was linked to Archangel Gabriel, the bringer of good news, as we know from the Bible. I feel that noticing differences brings awareness into an area that until then had only been grossly perceived.

This distinction between the three sources of sound sets the harp apart into a particular healing aspect. The reason, I feel, is its unique display of harmonics that is already noticeable when playing a single note. It is this abundant presence of harmonics in harp playing which might bring the resulting sound closest to the music of the (angelic) spheres. The presence of a Seraphim related energy layer around the harp adds onto the unique quality of harps. I need to qualify this last statement. As far as I understand, the four ethers and the spiritual energy field near the harp are linked directly to the instrument itself. This gives the harp a natural healing power towards the beings of the four ethers and that includes nature spirits and elementals. The anthroposophical understanding explains that, due to earlier phases of evolution of planet earth, the qualities of harmony and wisdom are inbuilt in nature. Perhaps this is the reason why the harmony of music resonates especially well with nature spirits.

The four ethers are: chemical or sound ether, light ether, life ether and reflector or warmth ether.

The astral/mental field