It is a commonly accepted fact that some knowledge of music is

essential to any high degree of attainment in that science of the

sciences feebly expressed by the term "Occultism", but it is not

generally understood that far more than the limited amount of

knowledge above indicated is indispensable to the interpretation of the

language of symbolism, as the latter is primarily founded upon sound.

The musical scale adopted by the Occultist contains an infinite variety

of notes and sounds ; in fact, every note or sound possible of utterance

by any created thing or being. Only certain notes or combinations are

classed among musical tones by the masses of people, while the truth

is that Nature's great Anthem, Life, could never be correctly

interpreted if even a single one of the tones or sounds usually

considered harsh and discordant, or sweet and melodious to the human

ear, were omitted ; both poles of sound being requisite. The fact that

sound . Music . is a perfect language capable of expression by voice

or instrument . a language which may be uttered [TT 209] without a

spoken word, is known to many, and by them designated the first

division of the Mystery language. It is commonly used by the Initiates

in conveying necessary secret directions or information to each other

when the use of other divisions of the same language such as Color,

and Speech, would be inadequate or unwise.

Save for the Initiates, it is only the natural musician who can utter

or interpret ideas or ideals of his own or of others, when they come to

birth in Musical tones.

Many tones possible of expression in a single octave, and

requisite for voicing some one idea, are above, below, or between the

notes of the commonly accepted octave of seven full tones, and could

convey no meaning to the average person, even if heard ; and each one

of those twenty-eight tones is a full tone in a scale which is a

connecting link between two planes, or states of consciousness.

One is often struck by the apparent understanding existing

between two animals when no outer sound bas reached his ear. The

looker-on might indignantly deny an accusation to the effect that he

was unable to hear a sound which had been very evidently voiced by

either animal ; nevertheless it might be perfectly true, for what

amounts to a perfect interchange of communication between two

horses, and even between two ants, may be continuously carried on in

tones perfectly uttered and heard by each animal or insect, and which

may be heard by the trained human ear.

When you understand that there are seven full tones and

innumerable lesser tones possible of sounding between any two full

notes of a voice, violin or other instrument, you can gain some idea of

the infinite variety of tones a more highly evolved man or an animal

may use for expression of higher or lower ideas, and the mathematical

accuracy and length of the beats or measures . the intervals . between

said tones, during which there is opportunity for the introduction of

light waves conveying different qualities to the sound waves in action.

The sense of feeling is so closely identified with the sense of

hearing in the case of the natural-born musician, that it will enable

him easily to comprehend my words when I say that it is more through

the sense of feeling than that of hearing that the tones above

mentioned, in use by animals or insects, are interpreted, one by the

other. In other words, the horse ' or the ant feels the vibration of the

idea or force as it is expressed by the higher, lower or intermediate

tones, more acutely than it hears the tones, although the latter make a

distinct impression on the sounding board . the drum of the ear.

The multiplicity of unnatural sounds with which the tympanum

Of the ear of man has been afflicted during many generations has

[TT 210] resulted in hardening and toughening that drum in the case

of the great majority of the human race ; otherwise, the present

generation would have gone insane long ere reaching maturity. But

this process of protection carries with it an immeasurable loss,

namely, the power to hear or perceive the tones which hold the "open

sesame" to many of nature's holiest secrets.

If the finer tones of nature were to reach the consciousness

through the ear, in most cases it would be at the cost of a great

nervous strain.

You will note the physical sensation of strain especially in the

brain if you attempt to reach into the silence through the sense of

hearing alone, and this strain nullifies your efforts to perceive interior

phenomena, for it brings on a condition analogous to pain, thus

keeping your consciousness fixed on the physical plane. Yet you have

to conquer such conditions if you are to gain the lost sense of finer

hearing ; and if you can be patient with yourselves you can do this by

persistently modifying that sense of strain, and, as it were, quickly

without conscious effort . listening to what the average man would

call "nothing." But under no circumstances do I advise you to continue

the practice when you are conscious of any strain . for that way

madness lies.

The voicing of the right tones of a Mantram or Lodge . Call is of

great importance. A single wrong note may bring an inharmonious or

destructive instead of harmonious or constructive force into operation

which might not only destroy the effort of others, but also bring into

action another force which would build up some condition greatly

opposed to the original desire.

Do not lightly read and then ignore the information herein given

if you have any hope of becoming a practical occultist, for I am

openly giving you another of Nature's great secrets ; but you must use

the key yourselves, and use it wisely.


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