Vibration underpins all matter in the universe. No matter can exist without sound and vibration. cymascope.com Yes, it’s official. One Mind Live is going 432! From now on, there will be a difference in all the music I compose for our meditations. And, as the weeks go by, I will be remastering ALL the music to date – for the radio and the Composer’s Choice – and rolling it out. So what is this magic 432? Why get so exited about it? It’s all about vibrations – specifically the ones that fall into a frequency that measures 432 HERTZ. It’s called “scientific tuning”; It is a measurable thing that instruments and orchestras around the world used to use – an ancient tuning system. It was quantified by Pythagoras, though used thousands of years before he was able to measure it, right up to 1953, when for no reason that makes sense it was universally changed up to 440 Hz and became a world standard. Everything you hear on CD and on the radio and on streaming music stations is 440Hz. The difference its almost imperceptible – but the difference is organic and real. 432 Hz is a mathematical harmonic ofThe Magic of 432 – by Stephen Fearnley
The Natural Human Gift of Meditation – by Stephen Fearnley
I live in a most beautiful place. This ancient escarpment, part of the Great Dividing Range which runs done the length of the eastern side of Australia, rolls down to the pacific Ocean. Like a bird my mind travels East, out across the vast Pacific Ocean, and if I continue I will have to traverse 11,340 km of ocean before finally reaching landfall in Santiago, Chile. I see meditation as a natural human gift – the ability to uncouple the mind from the psycho-psychical world – allowing expansion and exploration into a deeper, kinder and wiser ancient Self. This greater YOU is from whence comes all your beauty, insight and genius. I make music to help us uncouple from the “smaller self” of day to day activity and reconnect with the deeper state. You can dip in and out – constantly refreshing yourself from this well – as you travel through your busy day. No need to compartmentalise. It can be an easy thing. That is why the 10 minute meditation is so handy. It helps remind us that we have the ability to constantly draw from the deeper part of us – whenever we need it – to pullThe Natural Human Gift of Meditation – by Stephen Fearnley
Sonic Glue – by Stephen Fearnley
I’m now giving titles to my musical compositions, mainly because I have made so much music for One Mind Live I need quick file names so nothing gets lost! A leftover from my art school days, it was always preferable to have a non-specific title like “Untitled #1” and “Untitled #2”, so as not to persuade the audience and to let the art speak for itself. I also have a tendency to call musical compositions outlandish things like “violin rainforest with cerulean sci fi tinkles” or simply “zingy-thingy “. Now, at OML, we have so many music files that we need much shorter names that we can all recall the mood and style as well as streamline and cross reference our filing system. The piece of music I’ve chosen for June’s Monthly Composer’s Choice Bonus took ages to make. For some reason, I couldn’t combine the instruments correctly. I was really stuck and I kept going back to it, not able to solve the melodic tapestry I’d constructed. Finally it came to me when I awoke last week at 3am… “Guitars! It needs twangy guitars!” said my inner voice. “Yes,” I replied, “but it’s three in the morning!” I wasn’tSonic Glue – by Stephen Fearnley
Big Skies And Open Fields – by Stephen Fearnley
This music is a celebration of spaciousness – it’s a prayer and because I make this music in one session (about 5 to 6 hours). It’s a devotional exercise on my part, to compose for one mind live. Quite often, I wake in the morning before a composition and I have a sequence, a sound, sometimes a melody, or at least an idea. Usually, it is accompanied by an intellectual understanding as to what it is I’m making and this is also attached to a combination of emotional nuances. These emotions are not mine. They are coming from the music I’m hearing. It’s these nuances which determine the instruments I use and the tempo of the piece. Steve X