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David Hykes
David Hykes
David Hykes
LISTENING
DAVIDHYKES
T
HIS remark by G. I. Gurdjieff, as well as other telling observations
on sacred chant, was remembered by Sir Paul Dukes, who as a young
music conservatory student knew Gurdjieff in Moscow in the early
IWk. He describes the practical demonstration that followed: Curdjieff
placed the student’s hand against his own chest and proceeded to chant the
I mrd’s Prayer in a special way, intoning the entire text in one long breath, on
;I single note. The young man reported feeling something like an electric ciir-
ixsnt. Apparently the art of chanting was yet another sacred sciencr of wliicli
(hrdjieff had a practical mastery.
Curdjieff said the Logos was
a souid. The first sound. ‘I’he tlcc,pest souiid. What you might call t l w
world’s tonic note. . . . Tile point is that whcn there wasn’t yct ally l a i i -
guagr there can’t Iiave beeri aiiy words and there can’t have bccii any
names in the ordinary sense. . . . By trainiiig you can prodii
ble echo of the soiind because cvcry octave is a replica at
levcl of cveiy other octav
I(,;i(I~ow:ii~(I ;I II(W gloI):il s : i ( m ~ Iiiiii\i(,, ill III(. ~III(Y~IIOII 01’ \VII:II ( ;III(I~I,.II
, ,111~Y1 ‘ol,pY~ll\~
1 1 (1 1~1 ~ 1 ( ’ ’ ’
Gurdjieff‘s finely tuned teaching makes very significant use of iniisic. M iisic,
and musical laws were for him a perfect symbol of the structure and fiinctioniirg
of the entire creation and of the inner life of man. The music Giirdjieff‘< I ~ Y Y -
oped with his dmiple, the Russian composer Thomas de Hartmann, ein1)otlic.s
magnificently Gurdjieff‘s teaching of what he called “the laws of vibration.”
The Gurdjieff/de Hartmann music has a very special quality, which can h
felt depending upon the state we are in as we listen. It is unmistaka1)ly irirrsic
of‘ a certain time and place. But if one listens very attentively within :mtl
beyond the music’s inevitable and natural relationship to cultiiral circiiiri-
stances, there are the harmonic vibrations of another kind of time, anothc,r
kind of place-that of sacred listening, of inner work.
Krishnamurti said, near the end of his long and extraordinary life, that he
felt he’d mostly been singing to the deaf. One positive way to interpret this
comment, directed toward us, is to barn to 1i.sten. I feel work on listening to
be the main opportunity that music provides. Work on listening seems to ine
t o be an absolute key to the awakening we need to bring to life in oiirselves
and on this planet. Attunement, or work toward harmony, depends first of all
on a transformed listening.
Harmonics correspond, I think, to what Gurdjieff called “inner octaves,”
referring both to miisical sound and to the vaster resonance of the cosmos.
They are the genetic inaterial of all miisical sounds, and in their infinite com-
I inations in the realins of scale, melody, harinony, and rhythm, are the under-
lying basis of all music. The series is potentially infinite. But in any musical
sound only a certain number of harmonics are present and only up to a cer-
tain point in the series, depending on the quality and loudliess of the souiitl
and on the characteristics of the vibrating body producing it.
Very often, we do not really hear what harmonics there may be, becaiise
of oilr coiiditioned, habitual listening. The effect of this conditioned listening
is that we vary, as individuals, and even iis whole civilizations, in oiir sensitiv-
ity to harmonics, and to harmony. Perhaps the range i n n d inagnitiide of h a -
iiiony obtaining in any particular sphere of activity is directly related to the
cliiality of listening or attunement. In any case, what music or lift c m eqiia-
ly help 11s measure is the presence i n 11s of a /writionic listciiirig, sensitive to
tlifferent levels of harmony.
Ilarmony comes from above. Any two notes which are in 1i;irinony shin-e ;I
Iiigher liarinonic. In f i i c t , all the notes ~ 7 tend e to sing or play 21s hnririony can
I N , sc-en rjiiite literitll?.;IS projections tlownwarcl from a common higher liar-
iiioiiic “ I ” t l i r ? . all s11xe.I I a r i t i o i i y :iiiioiig cliffrrcwt i i o t c s or vitxations can lie
i i i : i ( l ( * f‘iii(-i.t 1 1 r o i 1 ~ 1i1~ \ ~ ~ ~ i i -01’~ ~t lii ii s( ~“ Is ’’s ; i l ) o \ ( , , ;I liigli(Lr I i ~ i r i i ~ o i soiircc ii~~
t l i ~ ~ sstc.1)~
c~ 1ti:iy I)(. t l i o i i f i l i t 01’ ;is l i ) i - i i i i i t ~ : i~ ( l i Ii I(~t-I),*i
c ~ ~ ~ o i 11) i~ I \ V I i o t 1 1 ~ , ,I
I I( ,\I .I 11I II:;I
,( ;I t I1 I ;IS(‘( ,III I I I I;: ( ‘ I ) \ I II I( ( J( .I I \ I ’ , I )I,EIII III IIg ;I II( I , .II( I i Iig III t /, ,, I1 )I
I
Do?~iinus-God, the Absolute. He is reginii coeli, queen of the heaven-the
moo11. hli is nricrocosiiios-earth and the human being. Fa is fatus-destiny,
the planets. Sol is tlie sun. La is lacten-the Milky Way. Si is .sidem, all tlie
starry heavens. A n d again
In some traditions, for example in the raga singing of North India, pat-
terns of melodic movement between 1 and 2 are understood as codes 01-
inaps for the relationship of energies moving throiigh different scales and
states in a human being. Of course, all this can only be real when every
important aspect of how we listen, of how we receive sound in the body, the
different centers of resonance and so on, all interact . . . harmoniously.
The first ascending harmonic after the mysterioiis octave leap between 1
;rnd 2 is 3, which sounds as .sol; 4 is do; 5 is rni; 6, being twice 3 , is therefore
;in octave of 3 and also sol; 7 a s i b ; 8, again do; 9 re; 10 again mi;11, a note
I)etsveen$i andfa#; 12, again .sol; 13, a Zd;14, the same as 7; 15, si; and 16,
again do; 17 a rd ; 18 again 1%; 19, r d ; 20, again mi;21, an approximatefu;
32, same as 11;23, fu##; and 24, again sol.
There are ascending and descending harmonic series. The harmonics in
tiirisical sound are ascending, in the sense that as they increase in fi-equency,
~lrepitch "goes tip" above the fundamental note, bnt notes and inverse scales
(~mespondingto the proportions of descending harmonic series (subhar-
iiionics) can also be generated and sung. For example, the musical distances
01' 211, 3/1, 4/1, and the like., in the ascending series are mirrored perfectly
1~ a descending harmonic series from the same note: 1/2, U 3 , 1/4. The musi-
V'IIdistances are identical, and of course the intervals are inverted (3/1 gives
VJ/ above rlo, while 1/3, its inverse, gives f a below d o ) . The two sets of har-
I i I( mics are complementary, and the multiplication of any harmonic interval
I w the corresponding subharmonic intervals always gives 1/1 (3/2 x 2/3 = 3/3
i/1, for example).
Even-numbered harmonics are repetitions of preceding harmonics, since
11ic.y are divisible by 2, and therefore sound as octaves. The octaves of 1, for
cwtriple, are 2, 4,8, 16, 32, 64, and so forth. They are the same note higher
1 1 1 ) . or, divided by powers of 2, lower down, as for example 1/2, 1/4, 1/8. Odd-
iiiiiiil)ered harmonics are new notes, appearing for the first time.
' l l i c harmonics are the pure, nontempered, truly in-tune versions of the
ttili(di-recluced and mistmed set of notes that, since Bach's time, has been
1.111 Iii-on(din 12-tone e ( p 1 teiriperanient. Already, in the 24 harmonics men-
I 11 liic~l,we find notes I d i cotisi(1miI)Iytlifferrnt from their tempered ver-
'.I( I I I S (5. 7 ) an(I/or iI\ikiio\vi\ i i r oiir i i s i i a I s c d c ~ s( 7 , I I , 13, 14).
3 . The third source of musical intervals, “when there is no 1,”is the har-
mony between two notes, neither of which is a 1 or an octave of 1. This
can be expressed as h,/h,. Examples would be the musical intervals 13/51,
7/5, and 9/7.
Without transposing, the first group of intervals hA, where 11 is any I X J S I -
tive whole nnmber, tends toward infinity as the Irmnoiiic. niiin1)er goes i i ~ )I I.I
infinity, one Irarmonic is iis Irigli ;IS t I i ( . i i ( ~ t. . . ;I sort ol’silciit i i i r i t y iii IIIV
A1)soliitc.. I I I t 1 1 ~s(w)nd . c‘;rs(~.iri(c.rv;rls ( ~ o ~ r ( ~ s ~ ) ot ioi ~1/11, l i i til~i o c ~ s ~ ~ r ~ ~ s
~ t . i i , l s~ o w r i ~ o
( I ;ipiii. ; I s01.1 01’ s i l ( . i i c ~ * .III 11i(. ( l i i i - c l l)ossiliility, I i i i i i i i g iioii I
I I i Ii)rces~ ~ of Nature.
IJiitki-stoodin this way, the harinonics heard and felt, beyond words, are
I I I ~I I(I ~ V p i r e inoiirrt;iitr s o i i t - c wlirrr ~ thc Mongolians say t h r y first appe;irrd.
1.1 I( ,\, ; i i . ( L I I I Y (li ~ ( Y . I (’xi)I (xsi() I I (11‘ 11;iti I 1x1I;Iw-;I sti-cxl1 1 of’ I ) i i i - ( b , ( Y )in i r i i I -
I i I i .,It I \ , ( , \,i1 I K I I i( )I I . ’1’1 I(. I I,I I I I I( I I I I ( ’ \ ( 11 III( I s( Y . I I IS s() I t I( .Ii i i I( .?; t ( ) C Y )I It ;Ii I I I I I ( , s(-( ,( I
2. The singer inoves the note and the harmonic together irielodically in
parallel harmony.
Oil. I ” .lllll\,~
’ I O I 1 1 1 1 ~lllllll.lllll~llllll l l o l l ~ IlI.III\\.
~l
5. The singer inoves inelodically both the note and the harmonic, in
converging or diverpig directions. That is, the fundainental note
inay go down as tlie haririonic goes up, or the fundamental note may
go up as the liarmonic goes down.
11. Melody.
12. Harmony.
In many cultures it has been the role of music to help express a sense of
(lie harmony of the universe in which we live, the sense of a hummnic order
wliich one can aspire to in oneself, in spite of-in light of!--all shocks and
i Iaily contradictions. Could the fact of listening differently change one’s abil-
1 ) 1 iiic+c even in the naine of his center in France, the “Institute for the
1 I;iririonic 1 ) c v e l o l ) i i i r i i t o f Main.”“ 1 Iis writings are fill1 of indications c o w
( . ( . I iiiiig t11(* sc.ic.iic.cs of’ \ i l ) t ; i t i o i i , I~;iritiony,;urtl ( ~ ( ’ I I soii11(1, I ) i i t , ;is witli all
III(.I)III(.I.; i s l ) c ~ tol’liis
s l(,;i(,liiiiK, III(.I.(* IS 1 1 0 “III;IIIII;I~,”IIO “IiowIo ”I I ( . I<II(.\V
lll.11 clllcY,( ~ ~ 0 1 l t , l\\,Ill1 Ill(.
~ ~ 1 ,I l , ~ , l ~ ~ lI ,\ l l l ~ ,Ollh \\‘;I\’ I 0 (1111\. “ll(~;ll”11s I ( ’ \ ( )
1 l . 1 1 1 ~ ’ Ill
~ ~ 111,. \\dllbl,~I I I l I l l l ~ ~ 4 .~1 1l 1l l 1 o l l l ~ ’ -I >
ll(. 111: \ l , l l ~ ~ l l l l l~ l\\,ll(~ll
’ \l’ l ’ll~ ~ llll~\
resound in the moment, guard symbolic meanings which only actual experi-
ence can illuminate.
In Beebebub’s Tule.r, Curdjieff disciisses at length the possible ways one
can I-esearch the fundamental laws of the universe and of the human being.
I Ie emphasizes jiist how far certain kinds of miisic, the science of “the laws
of vihi-ation,”can help. A n d he widely eniploys miisical inetapliors to explain
the action of these cosmic laws on every scale. He stresses that the real aim
of research is the nttnirirrient of nriotlrer letid of hcirig.”
Gircijijieff praises the benefits of certain kinds of chanting, which lie says
bring to life a state of “echo” and “ceIitralization” in one’s beingi He describes
a sacred, cosmic law of the universe, given by the soiinds “AlEIOIUOA’:
Such remorse for one’s habitual way of being, a principal incentive in tlic.
seeker’s striving to be at some moments othenvise, is said elsewhere to be tlrc-
result of a special kind of listening sensitivity, called “Vibroechonitanko.”“
The art of‘ chanting, when it is correctly transmitted, seems particularly
siiitetl to helpjng a11 inner listening, an inner attention, a state of greater prcss-
ence to oneself, to appear.
Until 1 can listen better there is no hope that I can hear a teaching. S o
many enlightened beings, so many sacred tests! But until I can hear what I S
being said, and can hear it working within, it is as Gurdjieff said-like hc;ii.-
ing a bell “without knowing where the sound came from.”1°
Our listening is often so conditioned, so filled up with tlroughts and t(*ii-
sions, that it is as though we were deaf. The vibrations from subtler levels 01
our being, which Gurdjieff says are calling to us from within, go m o s t l y
unheard. However, these harmonics of the fundamental notes of our lives ; I I 1 ’
necessary; they give quite another meaning to the deep tunings and mistiiii
ings which come and go, day after day, in ourselves and with others . . . (
to our coming and going itself.
What is harmony? What is listc-iiing? What do I neetl t o liviir? W ~ I ; I I
shoiil(l I listen to? \Vhich (Iiwc+ioii i s t l i c . riglit O I K , ? Will a list(%iiiiig 1 ~ 4 1 )i i 1 1 8
s t c ~ Will ~ r ~I ~cx,lro w l i ( 8 i i I iiiii t l ( l ; i t l ’ * I ,ist(*iiiiigi s ;ilw;i\,s iii I ) I - C . S C . I I :iii,I
t I i ( 8 I.
l i ( , i i i g o i i ( ’ ol’ 0 1 1 1 . ( li t i III~.
i i i o s t \.it;il c,iic.tgii.s, IiLi. lii,,;iIli 11 15 i i ~ l ) l ( ~ i i i s l i (I ’~t o
NOTES
Sir Paul Dukes, The Unerirlirzg Quest (Lotidon: Cassell & Co., 19,50), 107.
Although tlie identification of the mysterious oriental “princc” a s Gurtljieff in
this work is technically unofficial, I iiin coirvincetl of its validity, iis are, more
importantly, several of Curdjieff4 closest successors, who arc rigorous, to say the
least, in their staiidards of authenticity regarding oral accounts of Gurcljieff‘s
teachings, p;urticul;irly during tlie earlicst years after his reappearance in
Moscow.
Dmid Bohni, l V ! d w ~ w arid the Iiriplicnte Order (Loiidon:Houtledgc & Kegan
P d > 1980), 190-92.
I I(.rbert M%oirc.. ’/’/w IIitlrlcri Fmc: of Music. (Loiidon: Victor C;ollaricz I,td..
1984).
/)t//):s 7i/l(,s( o llis (;ruw/.wti (N<wYork: Hnrconrt, Brace,
I !)50),Mix.
I I I III(, i i i ~ i ~ i i i ~~ ~i l ‘ I I ~ I I“~‘III\I~IIII I~~I. 1 1 o i i i . I(, ~ I ~ ~ ~ ~ i ~/ t u It , t ti t o t~i i f /~t t ( ~, (I(- ~ ~ ~ ~ i t ~ ~