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your energies on the issue at hand and give staying power to the healing forces. Begin the process during the day when the moon is full. Cleanse and dress yourself and sit in your magic place. Place the jasmine flowers or essence and also the quartz crystal in front of you together with the symbols of the elements. As you call the powers a different element will present itself to you, according to where the imbalance is in you. That will of course change the shape of the incantation. In this example I will use the element air on the basis on this example you can work out the different variations. So air is in this case the element which speaks, the power which will help you with this magic. Words belong to air magic. Now inhale the scent of the jasmine and relax deeply to ask your subconscious to give you a word the key word for this magic. For a few minutes you are sitting with your eyes closed, thinking of nothing. When you sense your mind beginning to wander astray, touch the quartz its magical powers will help immediately to focus your attention again. Soon the key word will form itself in your conscious mind: in this example it is independence. It does not matter that you understand why this particular word should be your key word. Certainly a reason is there, your unconscious has its own deep wisdom but it is not important that you should be consciously aware of its motives. Every night, from the full moon to the black moon, you will rub a few drops of jasmine oil on your naked body. While doing this, let the key word independence stay in your mind. As you revel in the fragrance of the jasmine, relaxing, images will come to your mind, suggestions as to how to expand on the independence in your life. Maybe you will have a vision on yourself learning a foreign language Following these suggestions is an essential part of this magic; if you want it to work you will have to find a way. The quartz will help you with that. If you find yourself saying I have too much to do, I cannot possibly fit this in, I never was good at languages anyway etc., touch the crystal and feel its energy for a few seconds. It will immediately give you clarity and firmness in your purpose, and you will be able to see what you need to do, and have the determination to do it. Every night, before going to sleep rub the essence on your body and experiment with your key word. Keep the crystal with you at all times for this period to touch it whenever you feel that you need to do so. Thanks to the magic of the flower, of the crystal and of the key word given to you by the power air, a deep change will start in this period. A change which will enable you to regain your natural balance, and the grace
and beauty that go with it. #49 Spell to remember a past life: Items needed: 1 white candle, 1 mirror; Sit in front of the mirror, turn off the lights and light the candle. Set the candle next to the mirror so the light from it can hit your face, but so you will not see the candle in the mirror. After this is done, look into your eyes and say: Oracle of lunar light, Send me the second sight. Stare into your eyes and do not blink. Your reflection will dissolve and another will appear. Try to look at the face, body, clothing and surroundings. After you do this you will have emotions you can not explain. Dont worry... they go away in a few minutes. #50 HOME BLESSING It is very important for everyone to feel safe and happy within his or her homes. Feelings of angry or resent not only build up inside of us, but they also build up in our homes. We have all entered a home that just did not feel safe or warm. While in that home, the built up energies invaded us, leaving us feeling angry, frightened, or just uncomfortable. This is not something you want to live with on a constant basis. The following steps can be performed when doing a home blessing. The first and most important step is the purification. It will do you little good to bless the home if little angry thought gremlins are hiding in the corner. Get rid of them; sweep them out into the street. Next bless the home to protect it and bring about warm and safe feelings. Make your home your sanctuary. The last step would be to set up a permanent household altar that all in the family can use. This will provide yet another space for magick; no matter what religion your family members follow. You can perform the ritual below or make you own home blessing. The ritual below is a fill in the blank outline. You may not necessarily want the same things out of your home as I do, so I have left it blank for you to choose. Purification Supplies: Incense (purifying scent) and Censer Chalice of Saltwater Cleaning Supplies Broom if available Begin by spending as much time needed to thoroughly clean your home. Get behind that fridge, sweep away those cobwebs on the ceiling, organize your closest. If your walls need a fresh bit of paint go for it. Why all the cleaning? Magick must always be reinforced on the physical realm. What good would it do to get rid of the angry thought gremlins when there are twenty melted lollipops behind the fridge? Now it is time to work your ritual. Begin by opening all your windows and doors to allow fresh clean air in. If you are worried about the neighbors looking in, I don't feel that pulling the blinds would be a problem. Pick up you broom and visualize yourself sweeping all the negativity out of the house through the open doors. I
would begin with the farthest room from the front door so that all the negativity eventually finds its way outside. Now place your tools upon a table and light the incense. Take a moment feel the energies within the house. Is there any negativity still lingering about? Where is it? What does it feel like? Really tune into the feeling of your home. Now place your hands over your tools and charge them with the power to cleanse your home. Pick up your chalice and travel clockwise through your house. Sprinkle the saltwater into every corner of each room, visualize the water washing away negativity, visualize the salt burning the negativity away, and recite: "By the powers of Earth and Water, I cleanse this house!" Return to the table and pick up the censer incense. Take the same route through your home, visualize the smoke clearing away the negativity, and recite: "By the powers of Fire and Air, I cleanse this house!" Return to the table. Once again tune into the energies of your house. Is there any negativity still hiding somewhere? If so, repeat the ritual until your home is full of peaceful and calm energies. Now that your home has been purified it is time to bless it. The blessing will help to ensure a safe and happy home. Supplies needed for blessing: White candle Begin in the kitchen of your home, standing in the center of the room. Tune into the energies of the kitchen, visualize the activities that take place there, or will take place there. Light the white candle, and visualize the feelings that you would like to find in the kitchen. Send those feelings out through the flame of the candle to spread throughout the room. Recite the following: "With this flame, I fill the room with feelings of _____, _____, etc. This room is protected, this room is blessed. So mote it be." Continue through the rest of your house in a clockwise direction. Stop in each room, even the bathroom and laundry room, and repeat the process you completed for the kitchen. Once you have finished with each room, snuff out the white candle and repeat the ritual for the next two days. Your home is now purified and blessed. The last step is to set up a permanent altar for your entire family. This altar can be a bookshelf, a cabinet, or a TV stand. Anything will work. I suggest placing in an out of the way area of the home so those working at it will have some privacy. This will be a family altar; therefore everyone should place something of significance on the altar, even the pets. Suggestions for altar decorations could be family photos, photos of deceased loved ones, feathers, whiskers from the family cat, a stone found on your honeymoon. Remember to allow each person to choose their own contribution and respect their choice. Once the altar has been set up it can be blessed and then decorated for the seasons.
Pages 196 Before Moving On 218 x Contents Part 2: LIFTOFF Week 7: Anatomy of an OBE 221 What to Expect 221 A Step-by-Step Walk-through of the Exit 222 Reality Fluctuations 225 Returning to Your Body 226 Recalling Shadow Memories 227 Your OBE Journal 227 Breathing and the OBE 228 Using Brow Center Trigger to Cause Vibrations 230 The Preprojection Routine, from Relaxation to Body Loosening 230 Overview of Exit Techniques 231 Rolling-out OBE Exit Method 232 Important Things to Remember 233 Optional: Brain Wave Generator Preset "Week 07: Exit Training" 233 Week 7 Daily Pages 234 Before Moving On 251 Week 8: Overcoming Mental Blocks 253 What to Expect 253 Mental Barriers 253 Fear and Surprise: Facing the Unknown 253 Tips for Confronting Fears 255 Belief System Cleansing 262 Trying Too Hard 263 Where Your Attention Goes... 264 Prayer and the OBE 265 Optional: Brain Wave Generator Preset "Week 08: Exit Training" 265 Week 8 Daily Pages 266 Before Moving On 283 Week 9: Dreams and the OBE 285 What to Expect 285 Inevitable Questions 285 Mind-Split Review and the Model of Projection 286 Contents xi Nightly Spontaneous Projection 288 Lucidity as a Function of Energy 289 Reality Fluctuations as They Relate to the Dream Mind 291 Making a Sleep Programming Recording 291 Optional: Brain Wave Generator Preset "Week 09: Exit Training" 293 Week 9 Daily Pages 294 Before Moving On 309 Week 10: Troubleshooting 311 What to Expect 311 Reassessing and Making Adjustments 311 Energy-Raising Problems 312 Primary Center Stimulation Problems 313 Relaxation Problems 313 Breathwork Problems 314 Brow Center Trigger 314 Mind-Taming Problems 315 Trance Problems 315 Body-Loosening and Exit Problems 317 Setting Achievable Goals 321 Ideal Conditions for Practicing the Exit 321 Optional: Brain Wave Generator Preset "Week 10: Exit Training" 323 Week 10 Daily Pages 324 Before Moving On 343 Week 11: Advanced Methods 345 What to Expect 345 Taking Those Last Few Steps 345 Fasting to Enhance Personal Energy Levels 346 Juice Fasting 346 Water Fasting 348 Fasting Tips 348 Substance Fasting Alternatives 349 Day-Long Meditation 349 Influencing Sleep Patterns to Effect Projection 351 Final Word on Advanced Methods 354 xii Contents Optional: Brain Wave Generator Preset "Week 11: Exit Training" 355 Week 11 Daily Pages 356 Before Moving On 371 Week 12; After the Exit 373 What to Expect 373 A Quality Projection Experience 373 Strength and Vitality Issues 374 Reasoning Problems 374 Sight and Visual Complications 375 Body Magnetism 377 A Fearful Presence 377 Astral Feedback 378 Self-Hypnosis to Recall Shadow Memories 379 Self-Hypnosis Recording Script 379 Notes on Using Your Hypnosis Recording 382 Optional: Brain Wave Generator Preset "Week 12: Exit Training" 383 Week 12 Daily Pages 384 Before Moving On 403 Week 13: The Basics of OBE Navigation 405 What to Expect 405 Another Door Opens .. . 405 Astral Physics 406 Getting into the Real-Time Zone 407 Getting into the Astral 407 Astral Tubes 409 Projecting into Void 410 The Subconscious Mind, the Higher Self, and Astral Travel 410 The Astral Wind Phenomenon 413 Astral Sight and Projection 414 Developing Your
his personal use, and offered me a copy out of courtesy. After studying Brian's ninety-day program, I uploaded it to my website and made it available to the public online. It quickly became popular and resulted in a lot of constructive feedback. I passed the feedback along to Brian, plus my own ideas for improvements, and he revised and fine-tuned it accordingly. It soon became obvious that we were building the foundations of a valuable OBE training manual. Brian and I soon became good friends. Following my instincts, I invited Brian to coauthor a book with me, the book you are now holding. In the months that followed we discussed the theme and content of this book at great xvii xviii Preface length. We recognized that an old hand like me and a keen novice like Brian teaming up as OBE teachers would create a winning combination of knowledge, experience, and priceless enthusiasm. I am not really a fair test subject for any kind of OBE training program, as I have way too much firsthand experience. Brian, however, was a well-read novice with little actual OBE experience. He was not one of those fortunate few who can easily induce an OBE. At that time Brian had tried for many years, but with only enough success to fire his continuing interest. Brian road tested each section of the program repeatedly. He put in time and enthusiastic effort, as I watched for problems and worked on solutions. Together we fine-tuned the methodology of the program for optimal results. During this process we gained a profound understanding of the numerous problems that beset novice projectors and came up with many new and innovative solutions. We also began researching and experimenting with helpful technologies, such as light and sound machines and audio devices that help induce altered states of consciousness. We wanted to include everything that could possibly help projectors. The structure of this ninety-day program is simple. Information and instructions are given in bite-sized chunks, while readers follow a progressive series of OBE-related exercises. Only enough instruction and theory are given at any one time to provide context to the work at hand. Basic skills like deep relaxation, clearing the mind, concentration, and energy body stimulation are taught first, and then a variety of OBE exit techniques are introduced one at a time. Advice and tips from Brian and me are given every day of the program as students practice and develop their skills. Common problems are identified and solved along the way. Extensive problemsolving sections are included. Each week begins with a new case history to familiarize readers with the OBE and to fire their expectations. Introductory information required for that week's activities follows. Each week builds upon the previous week. Summary and review sections are given at the end of each week. By the end of the program, readers will know and will have practiced everything required to wake-induce an OBE exit. After that it is just a matter of patience and practice. Projecting out of body requires a delicate balance of mind,
body, and spirit. Everyone is different and the time it takes to achieve this balance varies greatly from person to person. Some people take to OBE like a duck to water, whereas others have to practice harder to achieve results. This program levels the playing field with structured training and experiential advice. Everyone following it has an even chance of getting out of body. Throughout the ninety-day program we release new information that has been found to help induce the OBE exit. An example of this is my slight discomfort theory. In a nutshell, a very slight level of discomfort helps the physical body/mind stay more closely connected with itself and with its projected double during an OBE. This makes it easier to download and recall OBE memories. After all, without the memory of an OBE after the fact, it might as well not have happened. Everything that helps students retain their precious OBE memories must be recognized and used. An unavoidable side effect of this program is that it can cause the development of psychic abilities. This is understandable, as learning to induce an OBE requires training that can be applied to any other metaphysical pursuit. Our program contains extensive energy body stimulation work and, combined with deep relaxation, mind taming, and induced altered states of consciousness, dormant psychic abilities will begin to manifest. I wish you the very best luck as you begin our ninety-day training program. Astral projection might seem a giant leap for you now, but taken one step at a time it is not nearly as daunting as it appears. I suppose this is a bit like eating an elephant. If one looks at a whole elephant, the task of eating it all seems preposterous. But once the elephant has been reduced to frozen TV-dinner-sized portions, such a task would seem far more achievable. One might be eating elephant for a very long time, but success will always be in sight at the bottom of one's proverbial freezer. ROBERT BRUCE It can be easy when going about mundane, everyday tasks like working, eating lunch, and driving to the store to be lulled into thinking that the world we can see and touch is the only thing there is. On this planet of exponentially evolving science and technology, the notion of having a soulof life after deathseems Preface xix almost anachronistic. Healthy skepticism is a good thing; it is essential. Yet occasionally something very personal happens to make us ask questions. Is there more to my existence than I can readily observe? What happens to people when their bodies are used up? Is there a greater purpose for my being here? We can have complete faith in our belief system, whether that is science or atheism or some form of religion or spirituality, yet in the end they are only beliefs. What do we really know? In the absence of the known, we are left with its poor cousins assumption and conjecture. We can say what we don't know, perhaps, but for want of tangible answers we are
only left to ponder. Even when we read about competent, respected people having out-of-body or neardeath experiences, it can still seem a little implausible. If we accept these accounts, in the final analysis, it is still just a belief. With something like this, you can't really know until you've experienced it yourself, and that's what this book is all about. This is the moment to lay beliefs aside and to doto find out for yourself who you truly are and what this reality is all about. This is the time to not just read about it, not just hear people talk about it, but know it and do it. I am talking about the survival of the soul. Are we more than these fragile, fleshy shells? The exercises and techniques in this book work. I've always been interested in astral travel, and since high school have tried dozens of methods for fueling an out-of-body experience. At first I experimented with hypnosis recordings, but received little more than pleasant
a maior voz da historia do Blues: So pra citar alguns exemplos... Tecnicamente nao vejo uma caracteristica da producao vocal que unifique todos os exemplos acima, sao timbres, registros e tessituras bem diferentes entre si, cada um usando sua voz de forma pessoal e marcante, buscando imprimir uma assinatura vocal em sua musica. A sonoridade do idioma talvez seja algo que os unifique, pois sao artistas nascidos no Mississipi. Mesmo musicalmente estamos falando de estilos bem diferentes, apesar de todos serem Blues, cada um tem sua formacao, instrumentacao, timbres, etc, uns mais pesados usando mais distorcao, uns mais jazzisticos, outros mais folk. O fato e que a musica negra americana e um caldeirao de misturas e e muito dificil dizer onde termina o blues e comeca o jazz, o soul, o gospel, o funk, etc... No entanto pra mim alguns elementos muito fortes unificam todas as interpretacoes vocais acima e sao caracteristicas essenciais do blues: - As melodias sem duvida giram em torno do padrao harmonico do blues, e sao melodicamente limitadas por ele, mas dentro dessa limitacao a riqueza de possibilidades de articulacao, ornamentos e sonoridades e absurda, e aproveitada com genialidade pelas lendas citadas.- O frescor da interpretacao e fundamental, essencial! Em outras palavras, o que se canta tem que ser de verdade, tem que corresponder a uma experiencia real, mesmo que imaginada.- Naturalmente isso vai tornar cada apresentacao unica, pra mim essa e uma das premissas do blues, nunca se canta a mesma musica da mesma forma duas vezes, cada vez tem que ser diferente.- Existem sim alguns codigos do estilo, mas eles nao sao usados como cliches, mas apropriados de forma pessoal por cada interprete. Como interprete de blues, tento me basear sempre na honestidade e personalidade da minha interpretacao, desenvolver um estilo proprio que tenha a ver com a minha trajetoria pessoal, vocal e musical; cantar/falar o texto de forma verdadeira (minha fluencia no ingles ajuda mas nao e uma condicao essencial, condicao essencial e que se saiba o que se esta cantando, e de preferencia se sinta tambem) e acima de tudo, tento fugir dos cliches e da imitacao. Pra mim essa e a grande armadilha, reproduzir cliches, tentar imitar suas referencias, e construir nao uma interpretacao mas uma caricatura vocal: distorcida, desproporcional e acima de tudo, falsa. Julius Zuza Goncalves e cantor da banda Blues On The Table (www.bluesonthetable.com), alem de artista-educador, conduzindo oficinas de invencao vocal e aulas particulares de canto. No blog Zuza`z (www.zuzaz.blogspot.com) divide algumas de suas reflexoes sobre a pratica artistica sempre acompanhadas de gravacoes de experimentos exclusivamente vocais que cria.
varia os fenomenos sonoros em funcao do texto. No que se refere mais especificamente a Qualidade Vocal, o ajuste mais continuo e caracteristico durante a interpretacao desta cancao foi o de voz soprosa, fato que remete a um ajuste motor das pregas vocais que permite um escape de ar durante a fonacao. Porem, notamos que, em alguns momentos, esse ajuste se modificou. Esse tipo de ajuste sera tratado, portanto, como mudancas de registro vocal e mais diretamente ligado a Dinamica da Voz. Mas, o que me interessa destacar dessa interpretacao de Mamae Baiana feita pela Cris Aflalo sao os pontos de pausa. Para Abercrombie, a localizacao, a quantidade, assim como a duracao de pausas estao intimamente relacionadas com a continuidade e variam de falante para falante. Abercrombie (1976) aponta para dois modos de classificar as pausas: (a) como hesitacao ou (b) como cessacao da fala. Este ultimo modo teria o proposito fisiologico de respirar e, geralmente, nao seriam percebidas nem pelo falante nem pelo ouvinte. Porem, mais do que isso, sabemos que a pausa, alem de delimitar/romper constituintes linguisticos e servir como suporte para a respiracao, funciona como delimitacao de frases musicais, assim como abre para uma enorme possibilidade de criacao de sentidos para um texto.E o que poderemos em alguns trechos do texto da cancao selecionados abaixo: Obs.: (+) representa um ponto de pausa1) + NEga veia aqui sentada + mas nao sa:be a fiara:da +Aqui elas delimitam versos, assim como, ressaltam a rima entre sentada e fiarada. 2) de madruga:da EU RECOIO ESSAS QUITAN:DA: + faco as re:zas: de Luanda: + peco aos santos: + que me sar:ve:: ++ Nesse ponto do texto, as pausas delimitam constituinte prosodico frase entonacional (com excecao de os santos: + que me sar:ve::que rompe com o limite de frase entonacional) produzindo um efeito de enumeracao. 3) QUE NASCE:ram:: + (brasie:ro:) + + do mais moco inte o:: + (prime:ro:) ++As pausas que ocorrem antes e apos brasiero e primero, alem de ressaltarem a rima das palavras, funcionam como limites de oracao adjetiva explicativa. Note-se que ambas as estruturas tem seu volume diminuido e variacao de tessitura em relacao as estruturas que as antecedem.3) peco aos santos: + que me sar:ve::Essa ocorrencia de pausa, como adiantamos acima, rompe com limites de constituinte prosodico, porem, cria um efeito hesitativo, de abertura para diferentes sentidos. Em seguida, parece que esses possiveis sentidos sao contidos e se fecha com que me serve. 4) sustenta::: +++queima::: +++sustenta +queima: ++ A duracao das pausas acima e longa. Esses dois pontos do texto coincidem com limites de estrofe do poema, assim como, como limites de frases musicais. Na primeira parte da cancao, todos os limites de estrofe sao caracterizados com pausa longa ou media. Ja na segunda parte, os limites de estrofe sao caracterizados por pausas medias ou breves. Tal fato, co-ocorre com o aumento da velocidade na segunda parte, como explicitado acima.