03 Jan

3. About Inner Music and the Cosmos; a Search for the Harmony of the Spheres

Experiences with clear hearing

My most important impulse to research the conection between inner music and the cosmos was an initiation in the owrkings of a cloud, around thirty years of age. This was very intense and made the change in my life, as for myself I did no longer fit in the close suit of the scientist and I started to investigate in my own way, most often through art. But when I think back, this one was preceded by more experiences.

As a child I felt the moods of other people without knowing it myself.

That was a practical survival mechanism. In nature I often had strong experiences of unity, like with sunrise and set. Initially I imagined this as a huge musical play, but realised ever more that I heard it as inner music. And acknowledging this during adolescence, I as well heard the moods when I entered a place, which before I only felt half conscious. During my studies in Biology I at once saw dancing movements around my reaction tube. And I saw through the forms and movements under my microscope entities that created and maintained these forms and movements. Knowing I was not hallucinating, and being in science, I had to investigate this further. I dug in books and old knowledge. After a long search in different esoteric directions I got to know that I observed elemental beings, and this you do not perceive with the known all-day senses. This is not quite popular in modern science, so I kept these observations for me. They hollowed out however my faith in science, as not telling the entire truth.

Then came the initiation in a cloud in sound, color and form. First I saw a heavy raincloud opening above the sea after a rainy day. I saw movements of hazes in it. And the next moment I had left my body and was in the middle of the workings of that cloud. I saw beautiful organic movements and shapes in very clear, vivid and light colors, contoured with gold. And I heard a very intense over-tonal sea of sound, as were it e thundering symphony with a huge orchestra and specifically a high rate of truth and significance. This was so overwhelming that my own being threatened to expand and dissolve in that sea of sounds. With pain I retreated myself until I came to my body and to myself. On the way back to my body I saw a very powerful and high being in the cloud, that let me go and said something like “Now you have seen and heard, do what you think good with this.” In a very sober way, while I had almost lost myself. I however felt that what I had experienced and observed was fully true, albeit that this was not on the physical level. Just as with my observations of the elemental beings before I knew I was not hallucinating, and that this was a much more intense experience than I had ever had in my body. After this I searched for more of these kinds of experiences, like standing in a playing carillon of the donjon in Bruge, Belgium. I never again could experience this so intense. I decided to make this path accessible to others as well, because he was so beautiful and true. But I realized as well that this should be in a moderate and well-dosed way, for you might loose yourself in it.

During my travels afterwards I heard ever more the inner music at places like Stonehenge, the coastal mountains of California (in which I recognized much of the music of the Mammas and Pappas), and in weather events. I used this when I do healing landscape work with other people. We then sing in an improvised way the mood of that moment and that place.

Some of these sound experiences I wrote down in compositions.

I wanted to investigate whether this could be made objective, and I worked this out as a method in Workshops ad later on courses. Namely learned the experience that sound, sung and/or with instruments, has a strong healing effect on man and nature. This is known from different shamanistic traditions from East and West. We can apply this when we only know how. And this is what I have done with my research and methods.


A Search for bigger connections

What I heard in the workings of the cloud, after ancient knowledge is called the Harmony of the Spheres. Which means the sound-force workings of the Sun, Moon and the planets in their pace at the sky. The last person of whom is known to hear this consciously was Pythagoras. With the help of his monochord he developed the musical system of the fifth’s circle. This is still the base for our western music, for each one of the twelve subsequent fifths is the start of a sharp scale. He himself in his school in Croton, South Italy, made an inner path of development out of this on the base of music and dance. And the first person as far as I know to hear this anew, was the composer Schönberg. Six years after the initiation in the sea of sound he developed his twelve-tone system, in which each tone within an octave has equal value: the atonal musical system. This however is not in accordance with what I heard: that was not atonal, but supra tonal. Which means the music I heard had a sense and direction. It was not a sound mash, which you can experience often (not always!) in atonal music.

In the 17th century Johan Kepler investigated as well the Harmony of the Spheres. In that search he found the elliptic orbits of the planets around the Sun in his so-called mathematic Law of Fields (actually these orbits are egg-shaped, but this so hard to express in math). When you transpose the movements in sound relations, you get harmonious intervals (like thirds, fourths, fifths) between the slowest en fastest movements, and as well between the planet movements with each other. I have transposed his reckonings of the planet movements and as well of their moons in sounds. And indeed I found beautiful harmonies, that remembers of the compositions of the planets by Holst. This I have worked out in a book, and you can order a CD of those planetary and moon movements.

This all was however a small part of the reflection of the sea of sound that I have heard inside the cloud. It namely failed the rhythm, and this is an expression of the life.

During my Biology studies I had often looked at dying tissue under my microscope, where you could just suspect activities of the life. Drawing these dying pictures was violent to my soul and told me little about the life. I went searching in other directions to find more about the Harmony of the Spheres. I red a lot of astrological books, that easily came to me. But in these I also encountered predominantly dead images, mighty as they were. I searched the life in it in vain. In science my observations are not recognized as such, for they are not accessible for everyone: you have to push yourself to open up your inner senses. I still remember the words of a dean that looked through some of my books. She then said “This is not the way we do it here. You better graduate in Philosophy, they might see a possibility for you.” Because at that time I had a family with still young children I did not have the strength to do it. I though did write down my visions and methods of research in the book ‘Science Otherwise’. In it I also give directions how you can practice the different branches of science out of your own organ/planetary processes.


Life is rhythm

What Kepler had discovered was very interesting. These however were the movements of the planets around the Sun, and we on the Earth as being one of those orbiting planets do not see these elliptic movements. But in their encircling of the Sun, the planets all dance in a very peculiar way around the Earth, enveloping us in loops. And in these there is rhythm, so life.Planeetbanen geocentrisch

E.g. Mercury ‘dances’ on average with three loops a year towards the Earth when he passes before the Sun. Imagining this from above our solar system, you will see a tulip or lilly shape. Venus envelops us five times within eight years with her dance, in which she passes through the Zodiac about eight times. Seen from above, there arises the beautiful muster of a rose. In his fifteen year cycle around the Earth through the Zodiac, Mars envelops us seven times with loops. Jupiter goes around the Zodiac in 12 years, and envelops us therein wit 11 loops. And Saturn goes around in the Zodiac in 29 ½ years, enveloping us 28 ½ times with loops. Thus has each planet its own rhythm towards the Earth, in his own pace. I tried out all these rhythms in workshops to experience how these rhythms work unto us. From esotery namely is known that we carry the planetary forces within our organs. According to this our lungs, brought forth by Mercury, should react to a ¾ measure, and the kidneys, stemming from Venus, in a 5/4 measure, and so on. This in my workshops appeared to be repeatable in the experience with different participants. On sequence:

Moon – brains and reproductive cells – 12/16 measure

Mercury – lungs – ¾ measure

Venus – kidneys – 5/4 measure

Sun – heart – 4/4 measure

Mars – gallbladder – 7/4 measure

Jupiter – liver – 11/4 measure

Saturn – spleen – 29/4 measure

Different folks like the Basks, Celts, Bulgarians, Fins know these uncommon measure types. They probably are handed down from Atlantis, where they were heard inwardly and not seen. For this continent was largely enveloped by fog.

These measures give a kind of limiting of the time flow, like a riverbed, they give a kind of hold, but are not yet life itself. These come to life when you lay different accents in them. Everyone who once has drummed knows the fixating effect when you keep on playing the same rhythm; this might bring you into a kind of trance. And that you make it vivid again when you change the rhythm. That arouses you.


Color is the soul to the outside, sound is the soul inward

When in the evening dusk you let work the colors in their changing hues upon you, you will come in different moods. Inwardly you can let this resound in tones. This is not astonishing, while the atmosphere is the soul of our Mother Earth (and it consists of 80 % of nitrogen, barer of the soul). You can experience the colors as feelings. To the inside you experience the colors as your feelings, that each have a certain sound. I have been able to elaborate this with students of he Collot painting academy. We sang the colors as moods, which helped them to better catch and paint the soul motions as different colors. I also use this as sound improvisations with healing landscape work, in which we sing the different colors for the elementary beings.

Now concerning the more conscious sound effects in the soul that can wake you up. As I pointed out before, you can deduct the twelve major scales from the Pythagorean circle of fifths. Each of these you can experience as specific soul-consciousness spaces, which each correspond to a sign of the Zodiac. Like a large matrix.

A more refined application of scales you will find with different composers that listen to the inside, such as Beethoven (at the end of his life when he was deaf and only heard from within himself) and Debussy (before he was whistled back by Jean Cocteau). With them in e few of their compositions you find the old scales from the Middle Ages, in which the monks then sang (the so-called Gregorian singing). Those church scales have been handed down from ancient Greece, where they were the initiation/temple music of the different tribes. Our sharp scale knows as a sequence the tones C-D-E-F-G-A-B-c. The Dorians knew in this the D as basic note, the Phrygians the E and so on. This tone sequence originates from the cosmic-earthly developmental octave. It starts with the G from the so-called ancient Saturn, in which the germ for the human physical body was initiated. That happened in the warmth. After this there came the development stage that is called the Old Sun, with the tone A. Here our life body was made up. This occurred in the light and the air. Next arose the Old Moon, the tone B, where we begot a soul body. That occurred in sounds in the water. Then came the physically condensed Earth with the tone C, on which we can incarnate physically. This is called the Mars development of the Earth. Around the year zero that development was finished, and we could absorb our spirit germ, that to which we say ‘I’. So from that time onwards we can follow an individual development and are no longer bound only to family and tribe. We can help to heal what we have done to others and to ourselves until the year zero. This is called the Mercury development of the Earth, ad it brings the tone D after the incarnating C. After this there come the Jupiter Earth, on which we fully can develop clairvoyance, the Angel consciousness. That is the tone E that is connected to Jupiter: the shamballa or new Jerusalem. Then will follow the Venus Earth, in which we learn to act and conduct in an inspirational way: the Archangel level. That is the tone F. And as last one the Vulcan Earth, in which we can become creative magicians, the Time Spirit level, and create new humans out of us. That is the octave tone G. And thus we have hidden in our bodies and soul the entire octave as developmental stages . It starts with G, as follows: G-A-B-c-d-e-f-g. This octave with diminished seventh tone (small seventh) is the Saturn or spleen scale. It is the so-called natural tone sequence, that is hidden in each earthly sound in the overtones.

In the following the church scales and the organs as soul moods are connected:

Moon/Life flows and conscious soul contend – B-b (lokrian)

Mercury/Lungs – D-d (dorian)

Venus/Kidneys – F – f (lydian)

Sun/Heart – A – a (aeolian; minor)

Mars/Gallbladder – C – c (ionian; major)

Jupiter/Liver – E – e (phrygian)

Saturn/spleen – G – g (myxolydian)

This all after the white keys of the piano (with fixed whole and half tone distances)

For the three newly discovered ‘mystery’ planets Uranus, Neptune and Pluto, which bring forth hormone glands and not inner organs, there are other scales. See to this my books ‘Karmic Astrosophy’ and ‘Working with the Rhythms and Harmonies of the Planetary Spheres’ (not yet translated), in which you will find as well songs and other compositions of the planetary rhythms.

Still my search was not yet satisfied. Even though I could condense harmonies into compositions, I still looked for sounds I had heard and that I could not find back with our common musical instruments. In particular where it deals with word sounds. For instance a flute has more an ‘O’ sound, a hobo more ‘A’, but you do not come much further.

Soundsculpture OakI started to develop sound sculptures that each produced a specific vowel sound through their type of wood and inner space. I adapted this to a lyre and a violoncello with movable back parts, to be able to approach these vowel sounds in music.

Klinker cello schuin achterAfter this I made musical instruments, initially harps and lyres, to make the specific sound spaces of the Zodiacal images audible. I accomplished this by applying the forms of the star constellations as sound formatting principles. Thus arose twelve archetypes of string instruments, that each produces their own specific sound. Afterwards I applied this to larger lyres and as well on guitars and violins.

I did this as well because I could well play the guitar and keyboard, but kept on repeating the same improvisations in different scales. This brought me in the thinking mode and excarnated a little when I just improvised. But with the musical dressing in measure and rhythm and besides the tonalities, this became ever more directed sound meditation. Thus I came through the musical determinations to compositions on the base of the planetary sounds and rhythms.

alle instrumenten - 1

This neither was the totality of what I was looking for. I was able though to have resound the planet/organ music of a specific moment. This I applied in schooling and therapy out of the birth horoscope and in landscape healing. But I still did not have an entrance to the workings of the stars. Even though I could hear these when there was silence within and around me. I know there are some people nowadays that hear tones when certain stars rise above the horizon. Hence I transposed the distance of the stars to the Zodiac in tones. By projecting their place perpendicular to the Zodiac (through which the Sun, Moon and planets move) I determined as well their rhythm because of the planetary pace. When the stars in a constellation are being grouped together in this way, you get very specific sounds and rhythms. These we all know, for in between to lifes on Earth, ad as well each night when we sleep, we are in these starry worlds. See to this also my first blog about the impact of the star constellations upon us. With these sounds and rhythms you come to your own ideals which you took along before birth to work out in this lifetime. So you meet in this your own developmental being, your inner child that wants to grow by developing inwardly.


Sound horoscopes

All the musical workings mentioned above I applied to a horoscope, out of the knowledge acquired in astrology and astrosophy (I give more than 35 years horoscope explanations and consultations). When applying the insights of the four human bodies to a horoscope, you can recognize the following elements in relation to the bodies:

-The physical body is being conducted by the inner organs, which are the planet workings taken within. The organs embed the soul and the life processes according to the type of measure that is deducted from the rhythmical planetary dance around the Earth. See above.

-The life body expresses itself in rhythms, which are enveloped in the organ measure. In poetry we know the metres, the rhythmical unities. These have been applied in a conscious way in the row-dances within the ancient Greek apollonic temple plays. These row-dances between the scenes of the drama were executed by the pupils on the base of rhythmical texts. And these have been descended to us as the metres upon which the literary texts have been and sometimes are still written (as by me). These metres bring life. Well considered there are twelve types, and each one of these bring you in contact with a certain life realm. In the horoscope the twelve houses indicate our life realms, in which lay hidden our will. The metres bring to life the measure types of the organs, and thus you get a conscious access to what lives in your will as willing impulses.

-The soul consists of the feelings of sym- and antipathy and their refinements. To the outside the feelings are colors, to the inside sounds, and thus you can experience the soul moods that arise from the organs as scales, inner sound spaces.

-The spirit brings about in the soul that we can make and recognize significant musical motives. These musical motives or musical phrases dress up in measure, rhythm and tonality, but in itself render something peculiar. This makes you distinguish musical pieces from each other. But still one step further: the real spiritual background of a musical piece forms its tonality, so the major scale in which it is written. This as well determines its orientation towards the Zodiac.

Now when a planet in a birth horoscope stands in a specific sign, the planet transforms the major scale of that zodiacal sign into its own church scale. From itself it brings along the specific measure type within the organ that he brought forth. The house in which the planet stands indicates the life realm in which he will work out. And its rhythm deforms the measure type of that planet.

And thus you have an approach of the harmony of the spheres until within your own constitution.

When for example Mercury stands in Scorpio, he will change the Des major scale of Scorpio into the Dorian one, which means that not Des but Es is its asic tone. His measure type, anchored in the lungs, is the 3/4th. If standing in the 11th house (about 11 A.M., coffee time), his metre is creticus, long-short-long. And with this, he will inwardly transform and bring to life the ¾ measure. Click here for a few musical examples.


How far from my bed?

I did not work this out just as a theory. Over 30 years I tested this in workshops, education in inner development and in personal consultations and therapies. We also apply this during landscape healings. Here I let the participants sing the mood of a moment in an improvised way. Meanwhile I play on the lyre the planet positions in measure, rhythm and melody. The recognition in all these cases is evident to myself and to the participants. We namely experience constantly the effects of the harmony of the spheres as the moods and their changes that we go through each day. Even though most often we are little to not aware of this. This work is a path of exercising to become more aware of those inner sounds. Like this you draw the harmony of the spheres closer again by recognizing these moods.

My wife Marion Groenendal gives music therapy to multiple handicapped people, with as a result that they come more in themselves and become the age that they really are, no longer a three years old child. Their surroundings are glad about this.

Are you interested to experience this for yourself? We give evenings of improvisations in these musical spheres. Or come and follow an education ‘Music of the organs out of the Horoscope’. Here you learn to get along with this method, if only for your own sake to get to know your own soul processes. We give this education on your command.


See also my book ‘Karmic Astrosophy – a practical method of experience within image, music en plastic art’.

Leave a Reply