I
like the story my music appreciation college professor told us about
George Frederick Handel (1685-1759). Handel locked
himself in a room for weeks, barely taking food or water the entire
time. When he emerged, he had written
The Messiah (1742), but never took credit
for writing it or take any compensation. This was during a time when composers made their living by writing music, but he owned three opera companies so was not concerned about making money on this piece. Handel said that all he did was listen to the angels play,
and wrote it down. It is an amazing piece, to say the least, and very complicated for musicians to play.
I believe, based on experience, that Handel must
have been in an altered state of consciousness for a long period of
time, or in and out of it for weeks, in order to complete this task.Frederick Handel
Photo:Balthasar Denner, Public domain,
via Wikimedia Commons
An original excerpt from The Messiah
I was very
interested in this at the time because a year earlier, when I was a
senior in high school and barely 18 years old, I had an out of body experience while playing The
Messiah at a Christmas concert. Three Kansas City North high school orchestras and choirs joined together for this concert, so there were many musicians and audience members in the gymnasium.
About three quarters of the way through this piece, I suddenly felt a warmth coming from three feet in front
of me, then it moved through my string bass and into my solar plexus. I was perplexed as to what it was that I was experiencing. Then I was suddenly both in my physical body playing the instrument, and
beside my body on the right side watching the entire orchestra and
audience. It was as if the physical me was taken over by a force which continued to play the bass, and I looked up and simply watched the conductor and no longer needed to read the music in front of me. Any musician would tell you that this is a nearly impossible task and that it is necessary to look at the music in order to play it correctly. Memorization of such a piece is usually not done.
I then was amazed to see streams of different colored light emitting from the
instruments and out to the audience, often playing around people's
bodies. The colors and thickness of these streams of light varied by the instruments being played. For example, with the flutes there would be a very small thin stream, and for the basses, a very thick stream of light. I heard a voice say "You are watching healing take place." I would later find out that seeing music is called Synethesia. Then, reeling from the experience, my astral body
moved back into my physical body just as the last note of the piece was played.
Immediately after, my music director walked over to me and said "How did you do that? How did you play without looking at the music?" He was incredulous. I was too shaken by what just happened to provide an explanation, and simply said "I don't know." As I was speaking to my director, my mother approached along with the director of music for Central Missouri State University, Dr. Walter Halen. I was unaware that he was in the audience. Dr. Halen said he was very impressed with my playing and would like for me to apply for a scholarship to CMSU.
Although I was very good at playing the bass, and was always the first chair, that night the
Margie's bass
energy or entity that had moved into me was certainly responsible for taking over and doing the playing without looking at the music. I had no way to explain this without appearing to be entirely nuts, so just said "Thank you." I did end up applying for and received the scholarship and went to CMSU for a year before transferring to another university.
That was a life-changing experience, and it led me
to study in depth the effects of color and music on the human body and mind. To this day, I can hear color and
see music when I want to do so by putting myself into an altered state of consciousness. This is accomplished by doing something repetitive such as playing music or doing meditation.
When a musician is in an altered state while they play, this is called being in "The Zone." A lot of musicians experience this at one time or another. It involves allowing a higher vibration energy to move into your body and basically take over what you are doing, or move in concert with you and enhance your performance. Athletes also say they have experienced this. What this energy is exactly is up for debate, but I feel strongly that it is one's own higher self.
I have utilized this energy many times while performing classical or even jazz/fusion with bass guitar, and even used it in order to play instruments I was not familiar with and had no training for. In high school, I used it to pick up and play any instrument in the band, and my job was to take someone's place if they were absent, no matter what their instrument was. This was before I had any idea what the energy was. I simply thought "I know this instrument," and somehow it worked.
Handel's Messiah is indeed a magical work of art. It can put a person in an altered state of consciousness if they are willing to have that experience. I believe that is what happened to me so many years ago, and it was the beginning of my long search for answers. It may also have activated my PSI, or Psychic Center of the brain, allowing me to have many wondrous experiences and perform remote viewing with extreme accuracy. Perhaps Handel's mission was to create something that would change the world and raise consciousness. Just try to listen to this music without feeling there is much more to it than notes on paper - it is impossible.
Thank you, Frederick Handel!
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Margie Kay is a nationally acclaimed psychic medium and remote-viewer. She can be reached at www.margiekay.com
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