The higher purpose of music is to induce frequencies in one's consciousness which are amenable to the purposes of Creation.

Starting in the early sixties, a new more harmonious popular mode of music began to be telepathically lowered into the Man's consciousness in order to avail the readiness of popular music as a means for helping raise the mass consciousness of Man into higher and higher frequencies in preparation for the transition to the frequencies of Aquarius which are now occurring. 

The Beatles, then the Loving Spoonful, then Mother Tuckers Yellow Duck, and finally the Amethyst Starr Family Band were each in turn to have purveyed an escalating exemplification of the proper higher inductional frequencies of music through a popular mode.

Psychic interference and drugs knocked off the first three bands one following the other. The Amethyst Starr Family, who were almost there, was knocked off by outer ego remnants amongst some of its members in the middle seventies before it had a chance to become publicly heard.

Because of the constant material and outer usurpations upon the creative frequency of music, the whole ongoing inner dimensional telepathic program of melodically chordate musical influences upon the populace was discontinued in the late seventies. A sudden rise in the more discordant forms of popular music developed quickly in the wake.

The music of the Beatles, Spoonful, Mother Tuckers (See Mother Tuckers), and finally Amethyst Starr Family were to steer Mankind away from the outer ego based mentallized illusion approach to music indentured since the stone ages. The outer ego thinks fancy memorized passages will help them earn success. In actuality, music should be performed at the stream of conscious level. At no time should a musical passage be performed exactly the same as before as a well practised achievement.

In Reality, the expression from the musician, of the notes, should be from their exact frequencies of the moment including astrophysics, not from memorization. Every practice and every performance should be from current inductions and not from crystallized practising of the day or week before.

Most importantly, the musicians are thus performing from feelings rather than logic, since the lack of a memorized musical passage pre-empts a strictly logical approach of expressing it. The Amethyst Starr Family band was almost there.

Since no one's net incremental frequency is ever the same twice in a row because of the cosmic clock, jam sessions are never performed in the same way twice. Which models very well how music should be performed in general. Jam sessions at a club or at the end of a concert are almost always more vibrant and enjoyable for both musicians and audience alike than the often staid performances prior.

Yet total memorization is exactly what, for example, classical music demands. A musician's skill is measured by exactly how well they adhere to formats that were laid down in the last century or even earlier, under completely different astrophysical and Planetary frequency allocations.

Big band arrangements suffer the same from restrictive constraint. Not to mistake the point, practising is necessary for developing technique so playing can be done from the feelings of the moment without having to devote mental concentration to technique at the time in order to do it. It is practising to memorize exact phraseologies that is the lesser art.

Virtually all of the western world's music is one hundred percent anathema to the purposes of Reality. Music which is harmoniously produced, will produce harmonious results in the consciousness of the listener. Harmonious means being harmonious within all current frequencies of the moment, in particular astrophysical, not just one note against another which only makes a composition superficially pleasing.

Base players in rock bands are particularly mode crystallized, hanging onto preferred base lines, usually just a few fundamental repeated rhythms. By playing according to memorized lines instead of the frequency of the moment, no additional information is passed along in the passages from their feelings. Whereas Reality would otherwise impart the greatest communications.

The bass could and should be one of the most lyrically played of all the instruments, with sufficient emphasis on the basic beat notes and phrasing beginnings or ends to keep the rhythm structures intact.

Drummers, regardless of mode, could expand their expression enormously by weaving melodious little overtones into their cymbal ride as an example. Which would constantly change per the moment as their feelings implore.

Bands should practice their material in jam session mode until everyone has a good feeling for what the others will do and thus no one miscues in notes or timing. They will still be well rehearsed and unit tight, but will play with much higher light in their expression because there will no longer be binds from crystallized thought patterns inhibiting the current frequencies coming through.

A simple start exists. Charlie Parker revolutionized the jazz world in the forties by introducing a saxophone style whereby instead of working within tight little phrasings within tight little musical formats, he realized he could express just about any kind of phrasing he wanted so long as he stayed true to the chord.

The results were sometimes jarring but the point was made. The rote crystallized hypnotic structures of the time were broken. By the early sixties lead guitarists had adopted the style and it has remained the standard of lead guitar instrumentation ever since. In actuality any instrument could do the same, all within the same band or orchestra.

An even more similar effect is possible with timing and tempo. By going into backbeat mode by counting in half a beat before starting, all forms of elastic time expressions are possible so long as the musician keeps track of, and stays true to, the major bar ends and major chord change points as emphasis and plays towards them and off them in anticipation.

By setting up the points with powerful passing tones or paraphrasing, or delayed back beats which can start off out of sync but can be elastically played back into synch by the time the main chord end note comes up, the expression can be dynamically moved along even more.

Becoming facile in the method enormously opens up the potential for power and expression of the moment as you eventually begin playing without the interference of thought in front first. To some extent, Country Western lead guitarists hover around the approach a little by issuing simple little melodies and back beat riffs on and off as the feeling implores rather than delivering a fast roar of noise as do most punk rock guitarists.

Bass players are particularly well positioned to play in the backbeat mode were they to awaken to the fact. Playing like a very creative slow Country Western lead guitar player with lots of pauses, triplets, passing tones, and infused melody phrases makes the timing flow instead of thump, with a lot more power to push the band as you have a lot more nodal control of the beat to push from.

As another simple starting point, many rock songs have a saxophone in the background doing little inserts, chatters, fills, and lyrical run as the mood suits  which Bass  players could also emulate and smooth out into flowing bass approaches instead of thumping.

Were a bass player to listen to that, and jam along with it until they have duplicated the sax part or Country guitarist 'as is', then play it as though it were an original bass line, and then according to how they feel at the moment, they would be a lot closer to 'there'. At least their frozen mode of metronomic repetitions would be broken. Once the bass player has caught into the principle and produces it at will, the other band members can follow suit.

The opening doorway is to always play in the back beat mode, which is very powerful. Both 'Age of Aquarius/Let the Sun shine' by the Fifth Dimension, and 'Stairway to Heaven' by Led Zeppelin example the difference perfectly. In both, the first halves are played in the normal staid on beat position, the last  half in the much more exhilarating back beat. The difference in power and freedom of the instrumentations is instantly obvious.

Similarly, 'One Ring Jane' by Mother Tuckers Yellow Duck, on Youtube is played in a somewhat flowing back beat mode. By being free of the constraints of a strictly on beat mode, the bass was able to push the other instruments and vocals very noticeably.

Similarly, there are also a number of different versions of Willie Neilson's 'Georgia on my Mind', most of which are in a flowing back beat mode adding great expression to the sentiments involved. Notice also, that no two versions on Youtube are played exactly the same. Much of the reason for his success. He plays more from the feelings of the moment than most as opposed to stock pre-ormatted presentations.

A very positive and necessary musical doorway awaits opening. Once a performer or whole band is playing by flow, a new and unique public plateau for public music will have been established to the benefit of all. Including even eventually Big Band Swing and finally Classical.

From Starrgram 30 of website www.revelatorium.com