Karen Grace
from: Karen Grace
Category: Voicework

The Colours We Sing

INTRODUCTION


It is sometimes believed that all thought and matter are vibrations at different levels and as such, are in relationship with each other.  There are billions, trillions, inconceivable numbers of cells all vibrating inside the human body, giving life.  The human instruments of vision and hearing have limitations.  Everything at a cellular level vibrates, even if it is not seen or heard.  Einstein’s general theory of relativity proposed that matter and energy are interchangeable.  Quantum physicists on the cutting edge between science and the ‘spiritual’ believe that everything in the universe is connected by vibrating ‘strings’ (String Theory).  Physics professor Brian Greene expresses this view in The Heart of Matter, saying: “According to string theory, the irreducible constituent of the universe is a vibrating thread, not a pointlike particle.”[1]  Pythagoras believed all the planets in the solar system had a sound that can be represented by a scale of musical notes.  Vibrations below and above the hearing range exist.  They are part of the very fabric of life.  This is scientific, mathematical fact.  More and more people like author Lynne McTaggart are pioneering the attempt to bring science and ancient ‘spiritual’ knowledge together to prove what mystics have known all along; that consciousness and matter are in relationship through vibration; that the mind can affect matter and that by increasing awareness of vibration by certain conscious practice and intent, a larger, more objective perspective on reality can be found, opening doors to new possibilities.


 


A sounding note can reach a vessel with similar density and make it also begin to vibrate through sympathetic resonance, just as one person is fed and stimulated by the energy and actions of another on the same wavelength.[2]   Sound and light, finer and less visible to the eye than solid matter, are continuously vibrating.  Consider listening to the ringing


of a bell.  The sound begins, but when does it finish?  If an attentive ear is trained upon








[1] Brian Greene: The Heart of the Matter; American Museum of Natural History feature Feb 2000.




[2] The principle of sympathetic resonance states that if there are two similar objects and one of them is vibrating, the other will begin to vibrate as well, even if they are not touching. In the same way, a sound wave can induce resonance in a crystal glass and ultra-sound can be used to destroy gall-stones.




the sound, it may be noticed that it lasts for far longer than originally perceived.  Through focused exercises to refine the senses, we can be trained to notice things where before we could not.


 


Each ray of colour brings a certain energetic quality and each person reacts in response to it in a collection of habitual inner vibrations, crystallised by life experiences; by family, culture and education.  At a fundamental level each colour has its own pure intent, a quality that can be tapped into at a deeper level.  Learning about sound and colour can be a pathway to assist ‘tuning in’.  It can be a method of self-guidance, self-development and a bridging tool to connect beyond the material world into the vast potential of ‘inner space’ and the creative ocean of ‘outer space’.  To study colour and vibration is to open oneself to a new world of understanding and therefore to exciting new realities.


 


How can this be used to help the singer or voice worker?  It is an accepted fact among conventional and complementary therapists that colour can affect the psyche in many ways.  Colour is often used to express how we feel, for example; “I’m feeling blue”; “He’s red hot”; “Yellow belly”; “Green with envy” etc.  This is no coincidence and reflects the surface of a much deeper ocean of meaning connected to colour.  When explored in depth, significant patterns and meanings emerge.  Can conscious use of this information be made at a more refined level? 


 


The purpose of this paper is to identify the applications and implications of working with colour and the voice and to present the possibility for a ‘holistic’ system for the development of the singer in directions complementary to existing methods and models. Colour creates not only a structure to hold and deliver information, but can also be a diagnostic and investigative tool for singers. 


 


There are many excellent voice teaching systems in existence, so what does working with colour offer that these do not?  The Colours We Sing provides a system which encourages investigation, not only into one’s art, but also into one’s self to help support one’s art.

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