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Music Essences

  • What are Essences?

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    This is a very broad topic! In addition to our own Music Essences, we use flower, gem, and animal essences ourselves, and find them to be of great benefit. For general answers to this question, refer to this link: http://www.essences.com/wwes/faq.html
  • What's the difference between Music Essences and other essences?

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    Essences from different sources appear to differ in the way they engage with a person. Flower essences for example are usually predominantly concerned with emotions, and prescribing them revolves around emotional states. Gem essences on the other hand are often described in terms of their effect on a cellular level. Then there are animal essences, which present an archetype, and allow the user to tune into that. We find that our Music Essences also have their unique predominant function - working with consciousness. They could also be called "Human Essences" in fact, as the issues addressed all relate directly to the 'human drama', and ultimately finding its peaceful resolution.

    This comes perhaps as no surprise, given that the source of these essences - the music of J.S.Bach - is in itself human-derived material. Bach may have been so in touch with his inner core that his music can be regarded as being 'super-human', but even so, the process of composing it was a fully conscious human act (as opposed to trance channeling, which it almost certainly wasn't), involving the perfect integration of mind, body and spirit.

  • How are Music Essences made?

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    Katalin made the original 32 Music Essences by playing the music (on the violin) via a process of her creation, to the water, whereby the intention is that it is the music itself and not her performance of it, that will create the essence. In other words the essences are, by virtue of the intention behind the process, essences of Bach's music.

    Much more explaination is needed though.

    The vital component in all essence-making is intention, or sometimes the refraining from intention (which is also an intention!). In other words, discipline of mind of the maker. This is essential, because on the level upon which an essence is made, every nuance of interaction by the maker will affect the resulting essence.

    A side note to this - as human beings we posess an interesting and unique property: it is said that the synapses in the human brain (about 3.5 nanometers) correspond more or less to the transition between the Newtonian scientific model (that upon which mainstream science has been based for hundreds of years), and the Quantum mechanics model (which, due to its challenging nature still causes controversy). Very basically, once a certain level of 'smallness' is reached, quantum effects come into play, and this is where traditional science starts to fail to come up with explainations of phenomena. [see this link] So another way of expressing this would be to say that as humans with our consciousness we straddle both worlds, and are able to operate on a physical, predictable, mechanical basis, but also are able to interact with our environment on a subtle level, whereby every thought, and the absence of thought, can affect our world and our experience of it.

    As an essence is based on events on a level of the subtle realms, it depends entirely on how the maker participates in the process. Katalin's intention - and this requires discipline and skill - is to stay out of the way of the purity of the music itself, and so therefore we can be confident that her essences remain clear of interference on her part. This is undoubtedly the key to their power and clarity of message.


Product selection and use

  • There are a lot of different products here. Where should I start?

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    Are you already an essence user? If so, you will probably feel at home browsing the 32 individual essences. If not, the aura sprays and massage oils are also a good point of access. Aura sprays are very satisfying because they offer the multilayered experience of essence (and gem essences as well) with the addition of quite uplifting scents (essential oils), and are often first choice for people uncertain whether they would take an essence. They also make perfect gifts, as they are appealing to most people, and are gentle in terms of challenges presented to the user's system.

  • How do I select an individual Music Essence?

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    1. On the product page for each essence you will find a description, keywords, and some symbolic references (words or phrases). You can select an essence by reading these, though this will be most effective if you read the descriptions without trying too hard to understand them logically. We're describing states - archetypal human behavioural or experiential states - and so by reading through these you will sense whether you can relate to what is being said.
    2. Alternatively, below these descriptions is a list of associated data: the chakra corresponding to the essence (this is related to the key of the music), or parts of the body, even astrological data. Ignore any of these that you don't work with or don't have an affinity to. Generally if you use the table of associated data, you will find a whole set of essences with similar references. So this method will help you narrow down your selection to a few essences; beyond that the description, keywords, symbology or name are your best allies.
    3. Some practitioners let the patient apply intuition to the selection. This is simple on the one hand, but on the other requires trust in the intelligence of life - trust that the selection won't be random, but will be perfect. This is not magic, though one may choose to see it that way. Intuition is free of the ramblings of the human mind, which, though a useful tool, tends to get in the way of processes such as healing. Intuition can arise out of a moment's stillness. We've heard of a case where a patient suddenly saw the Music Essence 'Unicorn' on the shelf, kineseology (through muscle testing) then confirmed the person's system's affinity to it, and then a deep, dramatic healing process followed in the coming weeks.
    4. Contact us here and share a little about what it is you're hoping the essence will help with. Whilst this doesn't replace a full consultation, we can recommend a few options to consider.

     

  • How do I select a combination essence?

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    It's hard to go wrong with these. (In fact, you can't really 'go wrong' with any of our essences, certainly you can't do any harm.) The combination essences are more 'broad band' than the individual essences - they cover a wider area, so to speak. This makes them easier to use, and powerful, though a little less deep in their action.

    The combination essences each resonate with a chakra, and so if you know how the issue relates to the chakra system it's very easy indeed (see the associated data - first item). Some examples: anything to do with relationship issues is covered by "Transformation" combination (sacral chakra); anything to do with security, grounding, physical stamina, etc. - base chakra - is most likely to find support in "Mother Earth" combination. "Karma Release" combination is rooted in the throat chakra, and as such relates to everything around self expression and truth.

    Then there's 'Yin essence', which resonates with the lower chakras, and 'Yang essence' which resonates to the upper ones. Sometimes things are easier to classify in terms of yin and yang.

  • How do I use a chakra series aura spray?

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    The sprays are for use in the aura or in the room (the two are of course very linked - you interact on an energetic level through your aura with your environment). There is no need to use "on" the particular chakra. It's simply that the main focus of for example the spray "individuality" is around issues of the throat chakra (self expression, exploring personal potential...), the spray "energy flow" based around issues of the sacral chakra (relationships, creativity, spontaneity...), etc. As the chakras are part of the spiritual anatomy, you can engage with them from within the whole of your aura.
  • How do I meditate with the Chakra CD?

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    The idea behind the CD is to tune into the energy field of each essence via the music from which the essences were made. One way to do this is to play the CD, and to focus on the sensations within your body and aura - so to use your senses, especially that of feeling the 'inner body' (as described by Eckhart Tolle), to pick up on any way your body might be 'talking' to you. The music has a background sound - water/nature ambience sound - that carries a signal that is able to reproduce the energy field of the essence within the listening space. So this is much more than "just" listening to Bach's music (though that already is quite an experience in itself). The CDs are arranged in pairs of tracks: for example on the Chakra CD, track 1 is the music from which "Mother Earth" essence was made, which engages in particular the root/base chakra, with ocean waves that carry with them the energy of the essence. Then track 2 is the ocean waves/energy without the music, to give you an opportunity to deepen the experience. Track 3 is then the music corresponding to the sacral chakra, with rain sound that carries that essence's energy, track 4 the rain+energy alone. Etc.
    Whilst listening, another 'trick' is to listen not to the music itself, but, so to speak, to listen to the energy at the core of the music, whilst the music is playing. As the core or energy of the essence is something that exists beyond the sequential movement of the music, it is still and timeless. When you listen to stillness, you become still. With the CD running, if you listen to the stillness within which the music is playing, you will find you are connecting very directly to the energy of the essence, and, we suggest, to the source of inspiration from which the music arose.
     
    The energy field generated whilst playing the CD can be 'fine tuned' by adjusting the volume level. You'll find that tiny adjustments to how loud you listen will subtly change the field, and there may be points where if you're sensitive to them, you'll detect resonant 'nodes' where the sensation is more vivid as you turn the volume slowly up or down. Don't worry if you don't consciously detect these; We usually find people intuitively set a good listening level.
     
    You can run the CD all the way through - it will accompany you through the chakras, one by one, finishing with a grounding meditation "Angelic Protection" at the end. Or of course you can 'dial up' one that you want. Or run it in the background whilst doing other things - this can be nice because the music isn't constant: the in-between tracks are all ambience/nature sounds only (+ the energy of the essence).
    The above guidance applies also to the "Transformational Journey" 3-CD set.

Workshops

  • "Workshop" implies an active role for the participants. In what way does that apply here?

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    At the workshop we encourage exploration of what we call "full body listening". The music, which Katalin plays live (solo violin) is there as a meditaion focus - but this is quite a 'present' form of meditation: listening. Not only with the ears, and not with too much mental interpretation, but with the whole body. So whilst listening you are aware of sensations in all of the physical body - and in addition watching the mind, emotions, and more etheric aspects of your being.

    This sounds prescriptive - it isn't, and there is no set method or expectation. But this highly present form of listening is rewarding. And it is in itself a very refreshing activity: it tends to displace all unnecessary mind activity, and make way for a gently-focused and calm state of being.

  • Why does the workshop take a whole weekend?

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    It's true, it would be possible to play all the music much faster. But even spaced out over a whole weekend, the pace seems quite fast. The experience of delving into each essence, through the discussion and listening to the music - and the all-important silence we enjoy for a few minutes after each one - is very intense. Each essence is an archetype, and as such is a multilayered experience in itself. So moving from one to another shouldn't be done too quickly.

    An alternative would be to divide the sequence into smaller parts. This is something we may consider for a future event. At the moment we feel though that the sense of completion - of walking the cycle from 1 to 32 - and the momentum and sense of connectedness of all the parts - is a beneficial part of the process. It is immensly satisfying to land at the end of the 32nd essence, "contentment", having been through all the mental, emotional, physical - and spiritual - ups and downs. Everyone tends to stay in the circle, bathing in that "contentment", not wanting to get up.

  • I don't know much about classical music. Will I still enjoy the weekend?

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    Having no preconceived ideas about the music is a very helpful starting point. Some people have attended the workshop who even specifically dislike classical music - yet, because of the context, this doesn't seem to matter at all. It's not a concert, but a series of meditations. One comment was that this didn't seem like "listening to music" at all - the element of exploratory self-healing work, and getting to know the essences as tools for perfecting the art of being human, were the central elements, the music providing information - a code that speaks directly to the unconscious.

    At the same time, musicians, and even those who know and play Bach's solo Partitas and Sonatas themselves, have found the workshop beneficial, as it has given them a completely new perspective on otherwise familiar music, and even a whole new way of listening to music.

    For us the workshop is a tremendous experience, as it represents to us a way of presenting music that dissolves away all divisions between musician and audience, and shines a light on the depth of the music itself, rather than on the perceptions around the personality of the performer. We've experienced people at the workshop listening with tremendous intensity, drinking in every note and receiving it throughout their whole being, such as we wouldn't normally expect to witness at a traditional concert.


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