| The chakra system of Ayurvedic Theory is part | | | | Each chakrum has an astral psychic key in terms |
| of subtle human energy higher gauge symmetry. | | | | of colour and an etheric psychic key in terms of |
| We usually speak from a set of three or more | | | | sound or intonation. For example, the color, royal |
| chakra in the body. These chakra are harmonically | | | | blue is specific to the 6th chakrum located at the |
| in line with our neural patterns, whereas, we | | | | famous pineal gland or "3rd eye" which matches |
| speak through the 'tonic' chakra (as in music) | | | | with 741Hz on the Solfeggio Scale for "awakening |
| according to our predominant brain wave | | | | intuition." |
| harmonics (i.e. alpha, beta, gamma, theta, etc.). | | | | Speech and vocal patterns are subject to social |
| By mirroring and matching the chakra chord of | | | | and cultural influences. For example, most Aussies |
| other people, this allows you to develop rapport. | | | | speak with a nasal twang that warbles between |
| As you might know, mirroring and matching takes | | | | pineal and throat chakra as the tonic while chest |
| advantage of the judgmental heuristic or | | | | and stomach chakra serve as the 3rd and 5th, |
| generalization of most people which tells them, "if | | | | respectively, to form their personal major chord. |
| they act like me, they must think like me." | | | | Whether any particular set of brain wave |
| This communication skill is a basic autonomic | | | | frequencies is predominant is subject to the |
| function | | | | individual. |
| Before I continue, you should understand that this | | | | I don't know about you, but it's easy for me to |
| subject is akin to an academic analysis on "how to | | | | pick up on accents. After speaking personally with |
| tie a shoelace" because this is something we | | | | at least 100 Australians in the past, I had a very |
| automatically do once learned. | | | | hard time dropping the accent. I still speak with an |
| One example of this is mimicry. We mimic people | | | | eclectic mixture of accents from my previous |
| everyday, especially when making fun of them. | | | | work. |
| We can mimic the guttural and lingual dynamics of | | | | I always built rapport with these people, not only |
| most animals because we can dynamically shift | | | | because their accents would rub off, but because |
| speech centers. | | | | I mirrored their speech centers. I created |
| Another example is a form of cognitive | | | | sympathetic resonance between us by speaking |
| commitment: After living with another person | | | | from the same chakra set as they did; this is |
| (who you like) for a while, you tend to use the | | | | what we all do, subconsciously, but I happen to |
| same speech patterns because you tend to | | | | notice this on a conscious level. |
| speak from the same "centers." | | | | Training Your Speech Centers |
| I still remember when I worked in market | | | | To train this skill on a conscious level, start by |
| research: I was calling Australian head shrinks late | | | | calibrating the frequencies of your chakra. This is |
| at night and I had developed this nasal twang with | | | | done easily using a Clairvision technique as created |
| a lingual inflection that smacked of Australian. I | | | | by Dr. Samuel Sagan of the Clairvision School in |
| believe a great deal of my rapport was | | | | Australia; he's also the famed author of |
| developed when I actually tried to hide my | | | | "Awakening the Third Eye" and the "Atlantean |
| learned accent from my respondents. | | | | Secrets" series. |
| Professional entertainers gain rapport with their | | | | Here is a short version of that Clairvision Method |
| audience through this type of emulation. | | | | combined with mirroring and matching: |
| Impersonators can detect from which "centers" | | | | |
| other people speak and use the same centers of | | | | 1. Hold the palm of either hand a few inches away |
| speech when emulating them. Actors are trained | | | | from each of your chakra, then sound a resonant |
| to speak from different "centers," so they know | | | | note (simply humming) with that chakrum. |
| many ways to deliver a line for their part as they | | | | 2. When you feel a resonant vibration in your |
| emulate their characters. | | | | palm, you know you have the right tone. |
| Opera singers in particular can dynamically change | | | | 3. Start with the lowest tone at your root |
| speech centers. Sarah Brightman, for example, | | | | chakrum. End with the highest tone at your crown |
| sings in a girlish new age voice, then switches | | | | chakrum. |
| speech centers to sing as an operatic soprano. | | | | 4. With practice, you should be able to hit the |
| As you probably know, these "centers" are the | | | | resonant tone of any of your chakra at will. |
| chakra or "energy wheels" of the body. We tend | | | | (Matching the resonant tones with the color of |
| to learn and speak from the same "centers" as | | | | the chakra helps you remember them.) |
| the people around us as we grow up. | | | | 5. With further practice, you should be able to |
| We also train our "centers" dynamically, especially | | | | identify the chakra being used by you when you |
| for the performing arts. | | | | speak. |
| We also change our speech centers according to | | | | 6. "Tune in" to the chakra being used by other |
| our state of consciousness. For example, a | | | | people when they speak. |
| person speaks differently when they are awake | | | | 7. When you have "tuned in" speak with the other |
| and relaxed as opposed to when he is awake and | | | | person using the same chakra. |
| alert in an excited state. This is because we | | | | Now, I'm not telling you to mimic your prospect - |
| speak from the chakra center that resonate with | | | | at least, not in front of them. First, you want to |
| our predominant brain wave harmonics. | | | | impersonate your prospect (in private) to |
| Musical Connections | | | | discover which speech centers (chakra) they're |
| Part of our unique vocal signature is our speech | | | | using. |
| centers. Most of us speak in the same way we | | | | After enough practice with impersonations, it will |
| would play a major chord on a piano using a | | | | be second nature for you to hear which speech |
| Tonic, a 3rd, and a 5th. Others of us speak in | | | | centers a person is using. Sometimes it's |
| minors, augments, inverted chords and so on | | | | completely obvious the chakra from which they |
| within the resonant cavities of our own unique | | | | speak. Then try to use your regular voice while |
| instruments. | | | | speaking from your new speech centers. |
| There are eight energy centers in the chakra | | | | You want to do this very subtly. You don't want |
| system in the same way there are eight notes | | | | to be an impersonator mimicking your prospect. |
| (not including sharps and flats) on a musical scale. | | | | You want to subtly allow sympathetic harmonies |
| For your reference, please search "chakra" at | | | | between yourself and your prospect like two |
| Wikipedia. (I'll wait here while you pull it up.) You | | | | different instruments in an orchestra resonating |
| will see that there are six traditional chakra. I | | | | with each other with the same chord. |
| prefer to go with the model set forth by Rudolph | | | | Once rapport is established, you can subtly 'shift' |
| Steiner under the heading, "Western derivative | | | | feelings by changing your chord structure. For |
| models and interpretations." | | | | example, if you want to speak with a 'dominant |
| I happen to agree with Steiner that the universe | | | | seventh' chord, you would add a chakrum to your |
| is always moving, mainly towards a higher | | | | speech pattern. The root chakrum is always best |
| vibration. As living parts of the universe, we are | | | | for this. A dominant seventh creates feelings of |
| also changing towards a higher vibration. Just as | | | | trimph and leadership in music and has the same |
| we have an energy aura that encompasses the | | | | effect in speech patterns. |
| outside of the body, we also have chakra at a | | | | Alan Tutt talks about marking out embedded |
| higher vibration outside of the body, but we will | | | | commands in different ways in "Keys To Power |
| only examine the traditional six here. | | | | Persuasion." The Chakra Chord method is the |
| There's another piece of esoterica in direct | | | | most powerful way to influence through speech |
| correlation of the chakra to the endocrine system | | | | pattern because it's in our nature; it's a method |
| as you see in the next heading, wherein the | | | | that goes back a number of millennia until it was |
| chakra have resonant frequencies that | | | | further refined in the ancient power persuasion |
| correspond to their respective glands. | | | | techniques Mumai Mugai Ninjitsu, or "no name, no |
| This is another subject altogether, but it | | | | art" ninjitsu as part of their trained discipline in |
| demonstrates our ability to shift our speech | | | | Way of the MindGate. |
| centers to form rapport and why music heals by | | | | Yes, this method takes practice and practice |
| resonating with our chakra (e.g. frequencies of the | | | | makes perfect, just like playing a musical |
| Solfeggio Scale have different healing properties). | | | | instrument; it helps to study chord structure and |
| In fact, I recall visiting these new age fairs | | | | their cultural influences too. |
| wherein an Aboriginal Medicine Man would play his | | | | Next time we'll study the astral aspects of the |
| didgeridoo against chakra of his patrons to induce | | | | chakra system and how it is radionically keyed to |
| balance and stimulate healing. | | | | our names. Isn't that fun? |