Under the Beaver Moon

Stability and security begins in the heart, with the love of friends and family and in acts of everyday kindness.

A Serbian translation of this post is available below.

The full moon in November – the “Beaver Moon” in North America – rises this year in Taurus on Sunday the 17th, while the Sun is in Scorpio. The name originated among the Algonquin peoples of the North Atlantic coast, marking either a time to set beaver traps for winter fur or a time when beavers build their winter dams.

The Full Moon in Taurus illuminates a need for security and stability; that it occurs while the Sun is in Scorpio speaks of what we must relinquish in order to serve that end. How do we go about filling this need?

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The keycenter of the casting is B Descending, indicating higher wisdom coming down into us through the crown chakra. The first scalepoint that appears is do descending, the point of Inception, with a Conductor of Strings below: a time beginning when the heart leads. The second position is the axis of the casting, and so its central focus; here we find the scalepoint of te ascending, of Effort Required, with diminuendo crossed by a Major Triad of Strings above. Together, these first and second positions speak of conducting our affairs with a soft heart. It is from this softening, this diminuendo, this gentle opening to our deepest heart and the hearts of those around us, that we find both emotional fulfillment and the security and stability we seek: we become grounded through love, not through grasping or clinging.

Fulfilling as it is when we come to such a place of connectedness, there is a tendency to want to exit quickly, to hurry back to our comfy cocoons, to our self-absorbed dramas and notions of self-control. The third position – ra ascending with fermata above – speaks to this. “Fermata” means “hold that note till the conductor says otherwise.” The broad challenge here is not just to experience a moment of connectedness, assume we’re enlightened, then move on – it’s to hold the heart open, even as what’s in front of us shifts.

The fourth position, so with Ossia below, indicates finding vitality in taking the path less traveled. That path might be the scary one – if it involves ditching what is no longer of service, take it.

The fifth position, ti with a Major Triad of Voices below, speaks of a blossoming spiritual fulfillment. Musically, this triad is a half-step higher than the Major Triad of Strings found in the second position. The emotional fulfillment found in softness blooms as spiritual fulfillment in the broader context of our lives as a whole. Lovely.

The sixth and final position is under mi, the point of Opportunity. The moon sets, the Scorpio Sun rises, and we find the sickle of the culling card: Editing. This relates to the path choice in position 4: softening our hearts, we see what is no longer needed – and gently cut it loose.

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Pod Dabrovim mesecom

Stabilnost i sigurnost počinju u srcu, ljubavlju ka prijateljima i porodici i u svakodnevnim postupcima ljubaznosti.

   Pun mesec u novembru, u Severnoj Americi znan i kao "Dabrov mesec", naći će se ove godine u znaku Bika i to u nedelju, sedamnaestog novembra, dok je u isto vreme Sunce u znaku Škorpije. Naziv "Dabrov mesec" potiče od nekoliko plemena, grupno nazvanih Algonkvin, a koja nastanjuju severnu pacifičku obalu i označava, ili doba godine kada je vreme za postavljanje zamki za dabrove kako bi se nabavilo krzno za nadolazeću zimu, ili doba kada dabrovi grade svoje brane na rekama.

Pun mesec u Biku osvetljava našu potrebu za bezbednošću i stabilnošću, dok nam u isto vreme Sunce u Škorpiji govori šta je to čega se moramo odreći kako bismo imali i jedno i drugo. Kako postupiti da bismo ispunili ovu potrebu?

 "Keycenter" (početak) ovog otvaranja je "silazno B" i označava neku višu mudrost koja silazi u nas i to kroz Krunsku čakru (na temenu glave). Prva notna skala koja se pojavljuje je silazno do, tj. polazna tačka, sa "Conductor of Strings" kartom ispod: početak je vremena onda kada sledimo svoje srce. Druga pozicija je srž otvaranja, a samim tim i pozicija fokusa. Ovde nalazimo notnu skalu uzlaznog te, tj. neophodnog napora i zalaganja sa diminuendo kartom preko koje se našla Major Triad of Strings karta. Zajedno, prva i druga pozicija, govore o obavljanju svakodnevnih aktivnosti otvorenog srca. U toj otvorenosti, tom diminuendo-u i nežnosti ka sopstvenom i srcima ljudi oko nas, nalazimo emocionalnu ispunjenost, sigurnost i stabilnost za kojom tragamo: ljubav nam donosi prizemnost kroz davanje, a ne kroz grabežljivost i posesivnost.

Čak i u ispunjenosti, takvoj kakva jeste, kada dosegnemo takav nivo povezanosti, postoji tendencija brzog bega nazad u našu udobnu čauru, sopstvene drame i ideje o samokontroli. Treća pozicija, uzlazno ra sa kartom fermata iznad, upravo govori o tome. "Fermata" znači "zadržavati odredjenu notu dok dirigent ne pokaže drugačije". Ovde nije izazov samo doživeti taj trenutak povezanosti, već nastavljati dalje, zadržati otvoreno srce i tad kada se stvari pred nama menjaju.

Četvrta pozicija, so, sa kartom Ossia ispod, indicira nalaženje vitalnosti u koračanju putem kojim se ređe ide. Put bi mogao biti zastrašujuć: i ako zahteva odbacivanje onoga što nam više nije od koristi, krenite njime.

Peta pozicija, nota ti (si) sa kartom Major Triad of Voices ispod, govori o procvatu duhovne ispunjenosti. Muzički gledano, ova trijada (glasova) je za pola "koraka" viša nego trijada žičanih instrumenata u molu koju ovde imamo u drugoj poziciji. Dakle, emocionalna ispunjenost se razgranava i širi i u ostale sfere našega života. Divno.

Šesta i ujedno poslednja pozicija u ovom otvaranju, donosi nam notu mi, a koja označava priliku! Mesec zalazi, sunce se rađa, a mi kao poslednju sliku ovog otvaranja imamo srp i to na karti Editing (redigovanje, korigovanje, montiranje). Ovo je svakako povezano s izborom puta (pozicija četiri): otvarajući svoja srca, spoznajemo stvari koje nam više nisu potrebne i s osmehom ih ostavljamo iza sebe.

Desire as Burden: Almost Daily One-up with Tarot, 10/13/13

The desire for success can be a burden. Who has defined our notions of success? What within is driving us to achieve? Are we having desire, or is desire having us? 

There is sacred desire, that longing that bubbles up from an essential, grounded place within; and there is obsessive desire, that which quietly begins in fear and gorges itself into a monster that overtakes us. It can be surprisingly difficult to discern which is operating within us and to what degree – often, what starts out clean gets stealthily polluted by insecurity and selfishness – fear, in a nutshell – along the way. 

Many traditions would have it that all desire is poison. I would counter that such a notion is poison – it stinks as much of attachment as any addiction, and denies an essential force of nature. The problem is not that we want, or even what we want, as long as no harm to others is involved – the problem is how we want and why.

Everything, from our marriages and career paths to getting out of bed in the morning, is driven by desires, large or small, borrowed or built, hidden or in plain view.  This casting provides an opportunity to step off the train for a moment and consider where we’re going, to consider what it is we’re wanting in relation to who we deeply are.

Casting notes. The keycenter of F descending speaks of energy flowing downward from the Heart into the Solar Plexus Chakra, from the seat of deep feeling into the seat of power and identity. The scalepoint of re descending references the last note in a descending scale, and speaks of that which is needy and draws energy: the weight on a pendulum, the pull of the moon on tides. The Minor Sixth of Strings expresses feelings of longing. The Three of Pentacles speaks of fulfillment of a creative venture, with an emphasis on working with others. My overall sense of this casting is that of an emotional neediness slowing a success that is surprisingly close at hand.

So Are We Together

Beware of judging others based on past experience. What is driving him or her—now? Where are you—now? Listen quietly for the deeper current.

When we think “harmony” we tend to think “harmonious,” as in things blending in a pleasing way. “Harmony,” though, can be consonant or dissonant – it really speaks simply of relationship. In this casting, the Harmony Card arises from the scalepoint of le, from unconscious or habitual response. The whole casting is in the key of G descending, indicating the Throat Chakra and issues of communication, of understanding and being understood. We are called, then, to examine our reactions and assumptions with regard to relationships: under what preconceived notions are we operating? We nod our heads knowingly, we think we’ve got their number; others do the same for us. What we’re really doing is swimming in our own stew.

It is said we never cross the same stream twice; the landscape may look the same, but the water is ever changing. Our inner state at any given moment is a confluence of many streams – worry, joy, gratitude, frustration, calculation, obsession, pleasure, pain… and a lesser or greater degree of self-awareness, all flowing from the past into the ever advancing present. So it is with others. When we meet, we find ourselves in a bigger stream – not one that belongs to us, but to which we belong. What has brought us here? What is this place, so magically shifting beneath our feet?

Harmonics – and by extension, harmonies – arise within every sound. The one becomes many. So are we together: separate, in relationship, and of the same. The Harmony Card reminds us to remember.  

Almost Daily One-up, 08/14/13

What is it to maintain bodily awareness while communicating with others?

The solemn and serious minor third can imply a kind of quiet finality. When it sounds in Percussion, in the realm of the physical, it references sacred space.

The Musician’s Die in this casting is at G# ascending, indicating energy moving upward from the Throat to the Third Eye Chakra, from communication into insight; the hermeneutic for G# ascending is being understood. The scalepoint of ra descending indicates vitality, a point in process when energy sources are defined and/or tapped.

What we see here, then, is sacred space as an energy source that allows us to effectively communicate. While “sacred space” can refer to an external place, a place at home or in nature, it may be more useful here to consider a sacred space within: a quiet bodily presence, an awareness of sensation. How might maintaining such an awareness, such quiet connection to the body, affect communication with others? Can I hold this awareness and talk at the same time?

Musical notes. In the context of a G# ascending major scale, an A with an F# below sounds, implying the Phrygian mode.

Please feel free to share your experiences here or on the Muzoracle Facebook page in the comments section regarding this post.

Almost Daily One-up, 07/19/13 (with Tarot)

A higher calling compels us to act, yet we are weary. Seeing this, we move forward nonetheless, but in a measured way, expending our energy with care.

Casting notes. The keycenter of B descending indicates energy moving downward through the Crown Chakra. That the Musician’s Die points strongly to the right indicates an eye toward the future. The scalepoint of le ascending indicates unconscious, habitual response; the Stanchezza card above it is a directive to play ploddingly, expressing weariness and fatigue. 

Above Stanchezza is the Knight of Wands ascending, speaking of courage, commitment, and energetic action. The Knight, however, can be compulsive and rash. Left to battle in the unconscious, the two cards will stalemate; if seen, and if the true calling is remembered, the cards may indicate a more tempered path.

Musical notes. In the context of a B descending major scale, a G sounds. The accompanying piece is simply a piano improvisation based on this and the feeling of the casting.

Almost Daily One-up, 07/03/13

“A profound lack is preventing us from functioning as masterfully in the outer world as we do inwardly in the creative world. What is this gap, and how do we bridge it?”

The keycenter of D# Ascending indicates energy moving upward from the second to third chakras: that which drives the mostly inward facing creative process is concentrating and moving upward into the seat of personal power, into a place of identity and function in the outer world. The scalepoint of fa ascending indicates a time of revelation in this process; what is being seen is a lack in the realm of being and spirit, as indicated by the Major Seventh of Voices. 

The bad news about the Major Seventh is that it’s a great big hole; the good news is there’s a lot of ways to fill it. A profound lack is preventing us from functioning as masterfully in the outer world as we do inwardly in the creative world. What is this gap, and how do we bridge it?

Musically, the major seventh in this case, while presenting this large gap, is not particularly dissonant: both notes in the dyad are native to the casting’s keycenter, and in context actually sound a bit sweet. That means it might be so ubiquitous we don’t see it –  a big hole, perhaps, that’s easy to miss. Musically, it also means it’s pretty obvious which note fills the hole best, if we’re seeking consonance: a C, which along with the Eb root, makes a very pretty inversion of a G# Major Seventh chord. 

The note C suggests the Root Chakra; the interval between C and the Eb root is that of a major sixth; and the hermeneutic for the Major Sixth of Voices is faith. We wish to function successfully in the world with our creative integrity intact, but there’s an emptiness, a kind of unasked question, a dull blankness, hanging in our way – and the response that heals is faith.

Faith in what? In ourselves? In our worthiness as creators? In the creative process? The voices sing: we need no minor faith, no blind beliefs nor gung-ho confidence nor feel-good platitudes, but profound, deeply grounded faith. Every sound that arises finds its fifth harmonic, it’s consonance, and its seventh harmonic, the dissonance that brings rise to the new and decay to the old. We are momentary densities of vibration in a vast, undulating harmonic fabric, and a part of that fabric as well, and under the same laws, and born of the same unfathomable source: this is home. Trust, surrender, gratitude: that’s the kind of faith we’re talking.

There’s an opportunity here to explore the nature of the Third Chakra, of identity and personal power. Our notions of these things are so often narrow and closed: identity implies boundaries, power implies “mine.” Identity, though, is most functional when fluid and responsive, and true power arises simply from functionality, and not as power over but as power through and with. Perhaps bridging the gap between creativity and a functional identity that includes it is best accomplished from the top down, by letting go of our boiled-down, hardened notions of having to be this or that and allowing the consonance – and confidence, and faith – to rise.

Summer of Love: Midsummer and Marriage Equality

Midsummer is upon us, sweet as strawberries. Friday was the Summer Solstice, the day the Sun shines longest: bonfires were lit, herbs were gathered. Tonight – now –  the full Moon rises in Capricorn, a perigee full moon, closest to the Earth and huge in the sky.

On March 26, the full moon of Easter, two cases came before the Supreme Court of the United States regarding marriage equality, and I cast the Muzoracle. Now the court is on the verge of handing down their decisions, possibly as early as tomorrow, certainly by the 27th. Midsummer is a time of gratitude and celebrating abundance – and love, and marriage. Much has happened since Easter: more states, more people, have come onboard; there seems to be a worldwide transformation of the heart underway. What lies in store for us here in the good ole USA? On Friday I cast the Muzoracle - it’s been stewing here on the casting table since. Tonight, just before moonrise, I added in some Tarot. 

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The keycenter of B ascending indicates energy moving upward from the Crown Chakra: the vitality that bubbled up from the Earth and was drawn up through us is given back to the stars. The Midsummer Sun shines down most abundantly, and we beam back thanks: we are transformers between the Earth and Sun, and are so transformed. 

The first position in the casting is at se descending, the point of inception; the card is Con Amore, “with love.” Here, at the beginning, love shines down. Con Amore is also a directive card: it directs us to give love ourselves, to let it enter us from above and take seed below through us. The Tarot in this position is the Six of Cups – the remembrance of love, a nostalgia for love. Looks like we’re in for another Summer of Love, folks!

The final three positions of this casting are all ascending, speaking of our personal aims, roles, and challenges. The first of the three is at mi ascending, the point of “effort required.“ Here, at the casting’s axis, we find the Silence card crossed with a Minor Second of Voices. The minor second speaks of a deep, pervasive, even spiritual discord: there are those who find the notion of a world where love in all its forms is respected a serious threat. We are called to respond to this discord with silence – not verbal silence nor inaction, but inner silence, the peace of truth. There is no wrong love: that truth lies in the silent part of everyone. How do we engender such silence, within ourselves and others? There’s the effort – there’s the work. The eight wands sailing through the sky in the Tarot card in this position indicate moving ahead with enthusiasm and optimism.

The next position is at fa ascending, the point where the deeper nature of what’s at hand is revealed. The card: Repeat. Perseverance is key: if we lose one, we keep at it. If we win one, we keep at it. Love is not a single act but countless acts in a way of life. The very purpose of all that’s at hand may be to learn the lessons perseverance teaches. The Knight of Pentacles coming down speaks of the pragmatic nature of this perseverance. 

Finally, with the Devil card at do ascending, we find ourselves setting our intention while assuming the mantle of the oppressed. The Devil card, though, is about delusion: the people in it are in chains so loose they could easily slip out of them if only they thought it possible. The Pivot card says it is possible, and so shall be. A pivot refers refers to a point in music where the melody doesn’t change key while the harmony underneath does. Imagine facing a wall then pivoting on one foot to suddenly face a room full of people, or the sea: “I am I: not that, but this.” This is the kind of clarity called for here at do, the point of intention. As long as we claim the mantle of the oppressed, we most certainly will wear it; the Pivot card allows an opportunity to redefine ourselves. 

Musical notes. In the context of an ascending B major scale, an F natural announces itself most lovingly. In response, a D# and E natural are sung horrifically; the response to that is silence. E strikes again, this time without the D# – and again, and again. Finally, do, hinting at what the opening tritone promised.

Almost Daily One-up, 06/11/13

Creatively speaking, that which has been in the clouds is coming down to Earth: enough thinking, enough feely-weely, it's time to get your hands dirty.

Casting notes. The keycenter of D descending indicates energy moving downward through the Sacral Chakra, the seat of creativity. The scalepoint of fa descending speaks of a time of transition from the ephemeral to the concrete. The Perfect Fifth of Percussion is a call for initiative in the realm of the physical.

Musical notes. In the context of a descending D major scale, a percussive perfect fifth sounds downward from G. D to G to C: two consecutive fifths. Let's get a move on.

Almost Daily One-up, 06/05/13

Habitually focusing on what you don’t have blocks the intuition needed to get what you want. 

Material success, the who-gets-what-when, is to varying degrees a result of forces incomprehensible to us, and greater than us – greater than, but not exclusive of us. We all have access to the collective that is humanity, and to the collectives higher and deeper still that include humanity: we are, after all, nothing but denser concentrations of the same material. Material success of course requires clarity of intent and flexible perseverance, but also a sense of these larger, collective forces that govern things at a more local level. If we are open, these forces inform us from above through the Crown Chakra, flowing downward into the Third Eye and manifesting as intuition.

This casting shows an impediment to the flow of information between the Crown and the Third Eye in the form of a habitual focus on material lack. Yes, we live in the body, we live in the physical world: material lack cannot be ignored. But habitual focus on anything occupies the Third Eye and blocks the intuition. We need to break the habit of viewing our situation through the lens of what we don’t have.

Casting notes. The keycenter of Bb descending indicates energy moving downward from the Crown to Third Eye Chakras, from collective knowledge into personal insight. The scalepoint of le ascending indicates unconscious behavior. The Major Seventh of Percussion is the poverty card, indicating lack in the realm of the physical, of health, wealth, home, or body.

Musical notes. In the context of an descending Bb major scale, a major seventh built upward from le (re in an ascending E scale) sounds percussively. Feel the lack, remember the source.

Almost Daily One-up. 05/30/13

It is tranquility, peace, that is needed now. Creativity blooms in silence within.

Casting notes. The keycenter of D ascending speaks of the Sacral Plexus Chakra, of creative forces at work or play. The scalepoint of le descending indicates a time of dependence, of something needed or needy. The Tranquillo Card is a directive to express in a peaceful and tranquil manner.

Musical notes. In the Muzoracle, every major scale implies another major scale traveling in the opposite direction a tritone away: a D ascending scale, like the one in this casting, implies a concurrent Ab descending scale. In this case, when the scalepoint of le appears, we sound a Bb: the flat 6 in an ascending D scale, yes,  – but also, and most importantly, re in a descending Ab scale. 

Playing around with this on the piano this morning, I found myself playing a riff from a piece I wrote long ago. It’s called “Home,” and is very tranquil in nature – it’s about Hoofhaven, my home in in the Sierra Nevada mountains, and it’s in D, and le figures heavily. I was just there a couple of days ago, immersed in tranquility - so I included it here. (The crickets, btw, were recorded by hanging a couple of microphones out in the canyon at night. Above left, the pond at Hoofhaven in very early spring. ☺)

Thoughts Spring Forward: Almost Daily One-up, 05/20/13

The world is ready for your ideas: they are budding and soon shall bloom. Relax! Proceed! Share!

Casting notes. The keycenter of C Descending emphasizes the connection between the Root Chakra and the Earth: it speaks of a deeply grounded vitality, a relaxed, embodied confidence. The scalepoint of do descending indicates a new beginning, a seed that, while we may not see its fruits yet, has already germinated, is already on its way. 

The Soloist of Woodwinds is the archetype of the independent thinker – and not only are her or his thoughts free, they have weight, they have clarity, they are of value to others. This casting indicates a time where we can proceed with our ideas in utter confidence. 

Musical notes. An airy flute sounds a confident C, initiating a downward major scale.

Clarity Begins in the Body: Almost Daily One-up, 05-15-13

We must have “harmony in body” in order to experience intuition, insight, and clarity of thought. Consider this: feelings manifest in the body – if they didn’t, we wouldn’t know we were having them (think about it – if it weren’t for the butterflies, how would you know you were nervous? If it weren’t for the openness in your chest, how would you know it was love?) Each thought we have subtly – or not so subtly – carries some sort of feeling with it: call it “opinion.” As we journey through our thinking and feeling day, then, bodily tensions of various sorts arise and hold – and shape the apparatus that does further thinking. Our clarity of thought begins to unravel; new feelings arise from our muddied thoughts, which in turn manifest in the body, which lead to thoughts and opinions removed further yet from anything core. You get the idea – we start the day somewhat awake, and finish it a reactive, tense mess that needs a cocktail.

The upshot is we can’t clear our heads by starting in our heads – we can’t think our way into clarity. We need to check in with our bodies first, to quiet them, to acknowledge what’s happening, to release tensions where we can. Any meditation or yoga practice worth its salt involves that, and that’s what’s called for here: whatever our belief systems or lack thereof, we need to develop a practice, a technique.  “Know thyself” isn’t a thinking thing, it’s a body thing – or at least it starts that way. “I think, therefore I am” is fantasy. I am, whenceforth I think.

Casting notes. The keycenter is A ascending, indicating issues involving the Third Eye chakra: intuition, insight, clarity of thought. The scalepoint is me descending, indicating governance, the point in process where rules are laid down. The card is a Major Triad of Percussion: harmony in the realm of the physical, of body, health, wealth, home, community.

Musical notes. In the context of an ascending A major scale, a 2nd position C major triad sounds percussively, affecting a somber and cool shift into Dorian. 

Almost Daily One-up, 05/09/13

If you wish to truly be heard and understood, you need to show up in person. Social media is not social engagement - you've got a body, bring it.

Casting notes. The keycenter of A# ascending references energy moving upward from the Third Eye to the Crown chakras, from the personal to the transpersonal. The scalepoint of re indicates habitual, reactive behavior; the Soloist of Percussion indicates going solo in a physical sense, as in being literally, physically alone. The image: a person trying to bring their insight to the world while remaining physically isolated, as is their habit.

Musical notes. In the context of an ascending Bb major scale, a C rings out: Are you sleeping? 

The Weight of Ease: Almost Daily One-up, 05/05/13

The whole “be careful what you wish for” line of thinking is, for the most part, fraught with bullshit. What, we’re not supposed to wish or hope or work toward anything we desire because it’s all going to wind up a mess anyway? Thanks, Eeyore, I’ll get right on that.

But there is a kernel of truth to be found buried in that old saw: everything has a cost. We generally wish things for ourselves that will bring us ease or happiness. Every new circumstance, however, involves new territory, and so brings new challenges; and we can’t consider those challenges ahead of time because we don’t know what they’re going to be until our wish comes true. 

That’s what today’s casting looks at: the weight of ease. The Major Third of Percussion – ease in the realm of health, wealth, home, sex, anything physical – is dangling off of re, the last note of the scale. And, being in the key of E, we’re feeling that weight in our Solar Plexus: it’s sucking the life out of us, making us feel weak. WTF, we’re thinking, this was supposed to be fun!

What needs to be remembered is that challenges are golden. Sounds ridiculous when we’re in the soup, I know, but consider this: life a trip to the soul gym – we want to finish the program stronger than when we started. We don’t learn so much when things are rosy. The trick is to see our challenges as part of a larger, often indiscernible process, and, when we’re not too emotionally overwhelmed, to find that quiet place within that can accept and even embrace them. That itself tricky to maintain: can we do so without running some sort of martyr drama? It’s all part of the work, chums. Remember that major third is still a major third: even when it feels heavy, it’s still a gift.

Musical notes: In the context of an E descending major scale, a marimba rolls an F# with a D below: a gentle dissonance and a gentle glimpse of a new key, a new context, unfolding.

Sowing to Reap at Beltane

Spring is at its apogee, Beltane is here, and with it its famous fires. As I see it, there are two aspects of the Beltane Fires: the fiery, creative aspect we usually associate with spring, and the less considered one that deals with what exactly we are burning. This casting addresses both.

In the first position, over the scalepoint of fa, we find the Fermata Card with The Moon above it: the Moon reveals Herself to us and we are held in thrall. Tonight, Beltane Night, the Moon is on the wane: She won’t let go until we let go – of our excess psychic schmutz. The third and final position finds the moon-ish scalepoint of le with the Editing Card and the Four of Pentacles dangling from it like a pendulum. Drawing our energy, dragging us down, the Editing Card speaks of the things we need to cut, to excise from our lives; the Four tells us we’re attached to those things, that we don’t want to let them go. These are the fuel for our fire, these bookend positions.

The second, center position of the casting forms its axis. Here, over the double scalepoint of la, we find the Improvisation Card crossed by an Accompanist of Voices. This interesting cross tells us of a need to expect the unexpected, and respond in real time to events as they unfold; and at the same time to always be foremost of service. It’s like a spiritual calling to be spontaneously kind. Above the cross, the Page of Pentacles travels downward from the point of Governance, reinforcing the notions of spontaneity and springtime abundance – he stands in flowers and newly furrowed fields – and promising success. The keycenter of the casting is A# ascending, which speaks of energy moving upward from the Third Eye to the Crown Chakras, from the personal to the transpersonal – a kind of melding with and giving back to the collective.

In addition to the fire metaphor, we may also see in this casting elements of that other most wondrous of Beltane mysteries: compost. As we discover things that we once held dear are no longer serving us, may we lovingly turn them under. As the warming spring days fill our hearts with gladness, may we we simply give what is needed wherever and whenever, in a relaxed and spontaneous way… remember the blossoms.

And in gratitude may we reap.

Almost Daily One-up, 04/28/13

The endeavor at hand requires seriousness. Do not, however, allow the weightiness of your task to become the whole of you. Remember the light at the end of this tunnel: this is the light that lightens.  

Casting notes. The Minor Third is an excellent opportunity to explore the meaning of “seriousness.” While contemporary definitions of the word always include “earnestness,” they also include “grave”– indeed, the roots of the word all stem from some variation of “heavy.” What is it to be effectively serious? Earnestness is certainly helpful; grave and heavy, though, well… that sounds like a recipe for gravy. Thick, gooey gravy that you can drown in. 

When a minor third arises from the scalepoint of mi, it speaks of serious efforts required. Musically, though, something interesting happens. The minor third we hear is actually the top two notes of the root major triad: the usually somber minor third, in this context, sounds sweet, uplifting, hopeful. It reminds us that our serious efforts must always include a remembering of the fulfillment we seek at their end. There’s a balance that must be struck, of course – hopefulness turns to daydreaming pretty easily, and the one thing seriousness seriously requires is presence: to earnestly try we must be there to do so, in body, in mind, and in feeling. 

The minor third that appears in this casting is in the suit of Brass, so we’re talking about serious efforts of the creative variety. The keycenter of E refers to the Solar Plexus Chakra, so we’re looking at efforts with some serious power behind them – but watch out for too much ego involvement. 

Musical notes. In the context of an ascending E major scale, two trumpets sound a G# and B – strong and sweet as Turkish coffee on a Sunday, not gravy-like at all!

Almost Daily One-up, 04/24/13 (with Tarot)

A new way of looking at things, a new understanding, is blossoming within: there is an awakening underway. You may find a tendency to judge it by old standards – don’t. Focus instead on where your insights are leading – there is new life ahead.

Casting notes. The keycenter of E ascending indicates energy in the Solar Plexus Chakra, the seat of personal power, moving upward into the Heart Chakra; a time when our efforts can have real transformative power, both for ourselves and for others. The scalepoint of la indicates a need for acceptance. The Tritone of Woodwinds indicates a transformation underway in the thinking center. Keycenter, scalepoint, and card together show a time when new insights must not be ignored, but followed. 

Traveling downward from la descending, from the point of governance, we find the Judgement card. It may function in an adversarial way, as the voice of doubt; better, though, to treat it as enlivening opposition. The Judgement card implies awakening unto new life (see dead arising from graves, Gabriel with horn, etc.) and absolution of "sins." Better to have awakening as a governing principle than doubt. Follow the insight, feel the power – and keep your eyes on the burgeoning future.

Musical notes. In the context of an ascending E major scale, a C# and G natural sound in the woodwind section, implying a shift into the key of Ab (or D, but the scale’s going up, and the G wants to go up, too.) Blowing down from heaven on that same G is Gabriel on his horn, calling up the dead.

Almost Daily One-up, 04/13/13 (with Tarot)

You’ve been working long and hard, and learning as you go; and though your work is far from finished, now is the time to present your ideas in a relaxed and confident manner, and bring others on board.

Casting notes. The keycenter of C descending indicates the Root Chakra and its attendant issues: survival, fight or flight, and, especially in this case, groundedness. The scalepoint of se ascending indicates a setting of intention; the Conductor of Woodwinds blossoming upward from it indicates leadership in the realm of ideas. Flowing downward to meet intention from the point of inception is the Eight of Pentacles, indicating a very real-world apprenticeship already underway.

Musical notes. In the context of a descending C major scale, the first chair woodwind confidently sounds an F#, implying an upcoming upward key change to G. (The Eight of Pentacles implies a completed major scale, and so an aspect completed of something still in process.)

An Effort Worth Repeating

Almost Daily One-up, 04/07/13

Last night I watched “The Weight of Chains,” a documentary about the rise and fall of Yugoslavia. It was made by a Serbian, and told from a point of view that was mainly Yugoslavian, supported by several international economists, journalists, and US ex-military. In it I found much revealed and much clarified; what I took away most, however, was this sense of “same-old same-old,” that the details, shocking as they are, are in a sense nothing new. The empires of Rome, the Ottoman, the Austro-Hungarian, they all had names – today the Empire is an unnamed conspiracy of convenience, sometimes conscious, sometimes not, ruled by corporate, monetary interests that know no borders. In the case of Yugoslavia and its ongoing aftermath, the US, the EU, NATO – all dressed in humanitarian-protect-the-world-for-democracy garb – are portrayed as righteous victors, but are in fact neither righteous, nor victorious, nor even conquerors. They wield the power but answer to a power undefined. The mechanics of Empire, however, are evident: deception, betrayal, misdirection, propaganda, brutality, greed, and suffering.

In the late 19th century, George Santayana stated that “those who do not remember the past are condemned to repeat it.” It’s also been said by many that “history repeats itself” – those two statements are used interchangeably. But while the first statement may be true, it occurs to me with today’s casting that the last is patently false: history never repeats itself. Panta rhei, we never step in the same river twice. What stays in place are the mechanisms – both within us individually and in turn as a society – that create history. We can imagine ourselves helplessly stuck in recurring patterns, or we can search for deeper causes. This goes for us on our individual paths as well as for us as a people: our inner Empires can be just as slippery as the outer ones. 

Today’s casting shows the Repeat card over mi, the point of “effort required.” The keycenter is A# ascending, indicating energy moving upward from the Third Eye to the Crown chakra, from the personal to the transpersonal: it’s about bringing personal wisdom and insight to the communal table and affecting real change.

We are not doomed to repeat history; we are required to persist in our efforts to see, to understand. To see the same mechanisms grinding into action again and again, and yes, to remember history, but more importantly to remember the end we desire; to be ruthless in our observations, but never unkind; to employ repeatedly the subtle shifts in focus that empower what we want and disempower what we don’t. Methinks that's the gig.

Almost Daily One-up, 04/04/13

Whatever the task at hand may seem, the true nature of your part in it is to bring peace, reconciliation, or resolution. You know this in your heart.

Casting notes. The keycenter of F Ascending points to the Heart Chakra. The scalepoint of fa ascending speaks of true nature revealed. The Major Third of Brass speaks of conciliation in the realm of movement and creativity: action for peace.

Musical notes. In the context of an ascending F major scale, trumpets sound a Bb with a D above, implying the subdominant triad – which of course wants to resolve.

Almost Daily One-up, 04/02/13

Give your ego the day off: give it – and you – a well deserved rest. Know going in that your job today is to selflessly lend your creative ideas, with no goal in mind other than lending a hand. 

Casting notes. The keycenter of D# Ascending indicates energy moving upward from the Sacral to the Solar Plexus Chakras: creative energy narrowing upward into force. This is the context to which you contribute. The scalepoint of do ascending indicates a moment of intention. The Accompanist of Woodwinds indicates service in the realm of ideas: using your brain for more than gain.

Musical notes. In the context of an ascending D# scale, the woodwinds sound do, softly creating a bedrock of support.

Meditation. We say “lend” our ideas, “lend” a hand, because what we give selflessly is always returned to us, albeit in unexpected ways. Selflessness leads to it’s own rewards, but only to the degree that rewards are forgotten: what is it to truly give?

Almost Daily One-up, 03/28/13

What? An opportunity to express yourself in a dazzling, creative way? Don’t you miss it!

Casting notes. The keycenter of D ascending indicates the Sacral Chakra, home to creativity. The scalepoint of te descending indicates a moment of opportunity. The Soloist of Strings indicates feelings at the fore and a time to shine.

Musical notes. In the context of an ascending D major scale, a solo violin crescendos in on a C natural, speaking of key changes to come.

On the Eve of Equality

Easter Moon over West Hollywood

Tonight: the waxing Full Moon of true Easter, Oestre, and the eve of the Supreme Court hearings on marriage equality. And in the heavens, Sun, Moon, Mars and Venus convene and confront Pluto, god of the underworld, presider of the mysteries of death and rebirth. Easter, Passover, resurrection, freedom from bondage... The daughter of Mars and Venus is Harmonia, goddess of marital harmony. Now is her time to shine in the full egg of the moon.

My love and I met 7 moons ago on the blue moon of August. The law would have us apart, thanks to DOMA. Tonight, in the spirit of Harmonia, we cast the Muzoracle – not just for us, but for all of us. What lies in store? How shall we proceed?

The keycenter is E descending: Solar Plexus Chakra, power coming down. The casting: just one position. The scalepoint – the double scalepoint, rolled twice in a row – is la, indicating governance, a point in process where the rules are set. And underneath, the Improvisation Card crossed by an Accompanist of Voices. Coming up from below, from the point of Acceptance, two Tarot: the Queen of Swords crossed by the Page of Swords.

In both the Improvisation Card and the Page of Swords we find the court in new territory. Successful improvisation is dependent on good listening in real time: this is how they must navigate the rough seas we see on the Page card. Like the Page, they are newbies here, slashing their way through with vigor. In the Queen we find them behaving, however, with little feeling. It’s all intellect, all cold judgment within the framework of law – which is as it should be, just don’t expect much response to impassioned pleas, no matter how morally sound. On the bright side, the sky above the Queen is crystal clear, and a bird soars free overhead.

The card that carries the most weight in the casting, though, is the Accompanist of Voices. It represents service in the realm of Spirit, a genuine dedication to the greater good. And the greater good, of course, is love. That the court will embody that role, that they will let Spirit govern them, is our greatest hope.

The scalepoint of governance also advises us on how we might govern ourselves. We, too, must improvise, must respond appropriately as the seas shift. And through it all we must embody the Accompanist of Voices. Morally, in terms of true justice, we have the upper hand, and must take the high road. Negativity abounds, in the press, in churches, in tea party prattle; but we are on the side of love, and the world knows it. There is tremendous power in that. We need to show, to keep showing, the world our love – it is irresistible.

Almost Daily One-up, 03/24/13

A radical transformation in physical circumstances – health, wealth, home – is available, or perhaps even underway. And there is an opportunity to participate, to direct: to do so you must find and bring your self-confidence, your sense of self-worth, to creating what you want. The work at hand is two-fold: first, what is self-confidence? There is a relaxed, honest sense of worth, an easy knowing of what you’re capable of, and an open, relaxed, affirmative attitude; and there is tense, anxious bluster and the desperate gung-ho. Do your best to opt for the former. Secondly, crucially, what do you really want? Be simple, be calm, be clear and concise.

Casting notes. A tritone over se is a powerful thing: it leads upward to do, to the keycenter, and falls downward from the keycenter back to se, which leads back up to do again… a kind of feedback loop is created, a sort of resonant build-up that gives the transformative tritone some real juice. The transformation at hand – symbolized by the Tritone of Percussion – is a physical one. The keycenter is Eb descending, indicating energy moving from the Solar Plexus Chakra, from the seat of personal power, downward into the Sacral Chakra, which is all about creativity and generation.

Musical notes. Yeah, you’re in Eb major, but that Eb/A timpani roll on crescendo is taking you to Bb or E for sure.

Almost Daily One-up, 03/22/13

Here’s a leap of courage for you – forgive someone or something you’ve never considered forgiving. And let them know.

Casting notes. The keycenter of G# ascending indicates energy moving upward from the Throat to Heart chakras: being understood. The scalepoint of la indicates a time of acceptance or forgiveness. The Octave of Brass indicates strength in the realm of movement: bold moves.

Musical notes. In the context of an ascending G# major scale, an F in octaves sounds in brass, strong and sweet. Not too shrill, though – I’m hearing trombones.

Almost Daily One-up, Vernal Equinox 2013

There is great inspiration to be found in listening to others. We can only truly listen, however, to the degree that we are truly relaxed: each of our subtle tensions marks a place that cannot absorb, cannot be impressed. Take a moment for yourself: quiet the breathing, then follow its natural rhythm; when thoughts arise, gently return the attention to the breath; then quietly sense the body one part at a time – face, neck, limbs, and so on – and as you find tensions, simply release them. The quieter we are, the more we hear.

Casting notes. The keycenter of C# ascending indicates energy moving from the Root to the Sacral Chakra: groundedness/survival/fight or flight evolving upward into creative response. The scalepoint of ra descending coupled with the Listening card indicates deep listening as a source of vitality.

Musical notes. In the context of an ascending C# major scale, a D sounds: a dissonance that wants to fall downward a half-step and back in tune.

Almost Daily One-up, 03/19/13

Remember the big picture, and encourage others to do the same: it will get you through the small stuff. 

Casting notes. The transformation that is taking place in a larger sense, the sheer friction of it, is generating a lot of raw energy – energy you can use. The keycenter of F# ascending indicates energy moving upward from the Heart to the Throat Chakra, and the need for sincerity; the scalepoint of ra indicates the appearance of a power source; and the Tritone of Voices indicates a deep-level or large-scale transformation underway.

Musical notes. In the context of an ascending F# scale, a C with an F# below it is sung. Essentially, a feedback loop is created: the scalepoint is a tritone above the keycenter; the harmony sounding downward from the scalepoint is the same tritone, leading back to the keycenter, which rises again to the scalepoint and so on. 

Chakras and the Muzoracle

One strata of metaphor that can be accessed in Muzoracle castings that I haven’t yet explored publicly is that of keycenters and their relationship to chakras. (Chakras are energy centers that correspond to points in the body – an excellent introduction to chakras can be found on Wikipedia if you’re unfamiliar with them.)

There are several practices that link the seven pitches of a C major scale to the seven major chakras. I was intrigued by this when initially developing the Muzoracle: being gives rise to process as harmonics give rise to major scales, and a link between body, energy, and scale seemed rife with possibilities. But I was bothered by the seeming arbitrariness of using the C scale: why C? How do I know what key someone’s body, or the world at large, is in? Maybe it’s in F, or Db, or at multiples of 127 Hz; maybe it changes day by day, or moment to moment.

My curiosity around this subject led to a bunch of research and experimentation. Over time I’ve developed a system of chakra-based metaphors that’s really juicy – I use it all the time. And it’s high time I articulate and share it – so, here goes.

The Question at Hand. First, what key is the world in, or are we in, or is a specific situation in? Does it matter? Must we associate the do of what’s at hand with a particular pitch? And if yes, gee we’d like to, why not just use C? We are, after all, dealing with myth and metaphor here: if the world is telling the story that C is do, that’s a lot of juice. But is it enough?

Well, it’s a lot. But when it comes to metaphor, I want more: more cross-references, more synchronicity = more power, more juice. In my research I found two areas worth mining: Schumann Resonances and pitch resonance within the body. Each has led to some interesting ideas and practices: the former to approximating a world do, the latter to finding a connection between a Muzoracle casting and a querent’s body.

Schumann Resonances. Schumann Resonances were first documented by Nikola Tesla in 1899. A German physicist named Winfried Schumann studied them extensively and began trying to measure them in the 1950s, and got his name attached to them (although accurate measurements weren’t possible until the 60s –  and Tesla’s numbers were right from the start.) Anyway, following is a brief introduction.

The sun’s radiation ionizes part of the earth’s atmosphere, forming a conductive plasma layer, the ionosphere. The ionosphere is positively charged relative to the earth’s surface, which is negatively charged. Between them is a cavity of nonconductive air continuously abuzz with ultra-low and extremely low frequency waves, waves excited into being by the 2000 or so lightening storms occurring planet-wide at any given moment.

Acoustically speaking, life on Earth arises and exists within a room, a room whose boundaries are Earth’s surface and the ionosphere; and that room has measurable resonant frequencies like any other room. Due to lightening strikes, that room is always singing, like a wine glass forever flicked by the finger of fate. To say those frequencies have an influence is an understatement: all of life on Earth, all of nature – including us and our thoughts and feelings – arises from within them.

The fundamental frequency of Schumann Resonances – do of the scale – averages at 7.83 HZ, far below the range of our hearing. But if, by doubling, we jack it up a few octaves so we can hear it, we find… a C! Actually, a very flat C, closer to a B, but a C nonetheless.

Chakras in castings. Satisfied with the C/Root Chakra connection, I began incorporating it into castings. I associate the keycenter of a casting – as determined by the roll of the Musician’s Die – with it’s corresponding chakra; I consider the overall casting as taking place primarily within or chiefly in reference to that chakra. Castings in the key of C relate primarily to Root Chakra issues, in D to Sacral Chakra issues, E to the Solar Plexus Chakra issues, and so on. I call this correspondence of chakras and keycenters the “C/Root Chakra Standard” (illustrated below.)

Chromatic keycenters – the “black keys” that fall between the notes of the C major scale and their associated chakras – refer to energy moving up or down from one chakra to another. Whether that energy is moving up or down is determined by the direction of the casting, by which way the Musician’s Die is pointing when it lands. If an F#/Gb is rolled pointing upward, for example, the casting is in F# ascending, moving upward from the Heart to the the Throat Chakra. If the same note lands pointing downward, the casting is in Gb descending, moving downward from the Heart to the Solar Plexus Chakra.

As far as the diatonic notes of the C/Root Chakra standard are concerned – C, D, E, F, G, A, B – whether or not they land in ascending or descending position is irrelevant to which chakra they relate to. Exceptions to this are E and F: if you look at the C major scale on the piano, you will see that there is no black key between those notes. The upshot is this: when E is descending, it simply references the Solar Plexus Chakra; when it's ascending, it references energy rising from the Solar Plexus to the Heart. When F is descending, it simply references the Heart Chakra; when it is descending, it references energy moving downward from the Heart to the Solar Plexus. These two diatonic moving points – E ascending and F descending – are particularly significant: they represent a shift between the self concerns of the lower three notes and the concern for others found in the top four notes.

The incorporation of imagery associated with the seven major chakras adds a rich and very personal layer of metaphor to castings. The chromatic notes – the black keys on the piano, since we’re in the key of C – look specifically at energy moving from one chakra to another, which, as far as I know, is unique to this system.

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What key be me? Mythopoetically speaking, the fact of Schumann Resonances add considerable weight to the notion of C as world do; and the do of the world is the do in all of us, of course – it’s not like we exist outside of the world. But harmonics are sounds within sounds, and every harmonic is a do in itself: we exist in relation to the world as well as being part of it.

I have developed a simple method for discovering a do within the body – I call it keycentering. First, I have the querent sing a nice, big, relaxed, open “ah.” (People who have had vocal training probably already know how to do this; the untrained might need a little help with learning how to relax the throat and jaw and support a note from the diaphragm.) Then I have them glide in pitch slowly and repeatedly from the bottom of their range to their top, while placing their fingertips (and/or mine, if they’re comfortable with that) on their breastbone. It is very easy to find the frequency that resonates there - it’s extra buzzy on the fingertips. I have them hold that note, and then, using a electronic tuner (or a piano) I see just what that frequency is. Interestingly, this frequency varies not only from person to person, but at different times for the same person.

The breastbone is smack in the middle of the 4th chakra, the heart chakra: fa. From there I calculate downward to do. If the breastbone resonates at G, for example, the do of the querent’s body, their momentary keycenter, is D: G is fa in the key of D. 

In truth, I don’t always pursue keycentering. It relates the querent’s momentary state of being physically to the casting: sometimes that’s useful, sometimes it’s unnecessary. Sometimes I “keycenter” before a casting, and use the querent’s do instead of C to determine the Root Chakra pitch. Other times I’ll keycenter a querent after a casting – relating their personal keycenter to that of the casting can sometimes trigger helpful insights. All in all I find the C/Root Chakra Standard to be the most useful, however, and even if I don’t use it exclusively I always consider it.

Using the keycentering technique is a lot easier if the reader is fluent in all 12 keys, musically speaking. For those with limited musical backgrounds I’ve included the chart below to help you find your way. Cheers!

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