Violet is Home
I am bathed in infinite Love and comfort,
Love such as I have never experienced;
I am moved to tears.
I feel a great peace such as I have never known.
All the colors are part of me;
My essence is complete.
Violet is the return to the source; the homecoming. It is the successful completion of the mission. In Indigo we became aware of Creator and high Divinity; now we experience it directly, in a state of Oneness with everything. We are welcomed with unconditional love. It is time to rest after the long journey. It is complete acceptance. We do not transition into Violet on our own, it is more correct to say we are brought here on Angels’ wings.
Violet is not so much a higher kind of beauty than Indigo as it is a simple statement of completeness and acceptance, and in the heart of one who has not yet come home, but can sense that it is there, violet energy produces an intense longing for that completeness.
Violet is very rare. Eric Dowsett, in The Moment That Matters, says "There are other fields beyond GAIA (nature consciousness), and one in particular interests me. I have only accessed this field twice. It has information centered around what I call Home."1
Of all the colors, it is most true of Violet music that it is more than the notes, just as a picture of a loved person or place is much more than the picture itself. There is an intensity that seems undefinable.
The depth of the violet “light” makes this music the most difficult to tune into. Violet, when you first hear it, sounds strange. You don't know what to make of it. It often will sound dirge-like at first, until after a few listenings we realize it is actually a supremely peaceful joy. Even the most sensitive person needs several hearings, plus some kind of predisposition in his soul to this energy, to fully access it. And then we are rewarded with a truly transcendent experience. We are transported to a place of incredible compassion, impossible to describe.
The composer of violet has certainly tuned into the highest of other-worldly energy and succeeded in capturing it in music. Probably only a deeply religious person is capable of doing this, or at least one who resonates with the great themes of longing, love and death. Such a composer is a channel for the highest love energy in musical form.
Violet music has a plaintiveness, an even higher level of poignancy and tenderness than indigo. Indigo can be extremely dramatic, but violet music is not dramatic and does not show particular emotions other than the deep sense of love and belonging. This music is often, but not always, in a minor or modal key, with a slow tempo. It features soulful, poignant chromatic and diminished harmonies heavily. Usually it requires the groundedness of a flat key (for example F, B flat, E flat if major, d, g or c if minor). There is often a droning quality in the bass notes, a constant sounding on the same pitch. In the opening chorus of Bach’s St. John Passion there is a chromatic wavering in the violins that underlies everything else for the entire duration of the chorus. This is another kind of drone sound, a higher-pitched one. It would not be present in blue or indigo music.
J.S. Bach very clearly intended to capture the essence of this energy in a few of his most profound works, and he did so in a way not really achieved by other composers. The opening and closing choruses of the St. Matthew Passion and St. John Passion strongly exhibit the violet quality. These choruses are of such surpassing tenderness and depth that each rehearing of them seems like a new experience, and something new is always heard. These gifts will not be apparent to the first-time listener, or even the tenth-time listener possibly. But at some point our consciousness connects with the intent energy in the music and we feel the full impact of it. The purity of the Baroque style permits this energy to flow unimpeded. Perhaps the complexities of later musical styles do not allow for the ultimate simplicity of the violet energy.
There is no dark form of Violet.
Chakra: Sahasrara (center of upper head)
Love such as I have never experienced;
I am moved to tears.
I feel a great peace such as I have never known.
All the colors are part of me;
My essence is complete.
Violet is the return to the source; the homecoming. It is the successful completion of the mission. In Indigo we became aware of Creator and high Divinity; now we experience it directly, in a state of Oneness with everything. We are welcomed with unconditional love. It is time to rest after the long journey. It is complete acceptance. We do not transition into Violet on our own, it is more correct to say we are brought here on Angels’ wings.
Violet is not so much a higher kind of beauty than Indigo as it is a simple statement of completeness and acceptance, and in the heart of one who has not yet come home, but can sense that it is there, violet energy produces an intense longing for that completeness.
Violet is very rare. Eric Dowsett, in The Moment That Matters, says "There are other fields beyond GAIA (nature consciousness), and one in particular interests me. I have only accessed this field twice. It has information centered around what I call Home."1
Of all the colors, it is most true of Violet music that it is more than the notes, just as a picture of a loved person or place is much more than the picture itself. There is an intensity that seems undefinable.
The depth of the violet “light” makes this music the most difficult to tune into. Violet, when you first hear it, sounds strange. You don't know what to make of it. It often will sound dirge-like at first, until after a few listenings we realize it is actually a supremely peaceful joy. Even the most sensitive person needs several hearings, plus some kind of predisposition in his soul to this energy, to fully access it. And then we are rewarded with a truly transcendent experience. We are transported to a place of incredible compassion, impossible to describe.
The composer of violet has certainly tuned into the highest of other-worldly energy and succeeded in capturing it in music. Probably only a deeply religious person is capable of doing this, or at least one who resonates with the great themes of longing, love and death. Such a composer is a channel for the highest love energy in musical form.
Violet music has a plaintiveness, an even higher level of poignancy and tenderness than indigo. Indigo can be extremely dramatic, but violet music is not dramatic and does not show particular emotions other than the deep sense of love and belonging. This music is often, but not always, in a minor or modal key, with a slow tempo. It features soulful, poignant chromatic and diminished harmonies heavily. Usually it requires the groundedness of a flat key (for example F, B flat, E flat if major, d, g or c if minor). There is often a droning quality in the bass notes, a constant sounding on the same pitch. In the opening chorus of Bach’s St. John Passion there is a chromatic wavering in the violins that underlies everything else for the entire duration of the chorus. This is another kind of drone sound, a higher-pitched one. It would not be present in blue or indigo music.
J.S. Bach very clearly intended to capture the essence of this energy in a few of his most profound works, and he did so in a way not really achieved by other composers. The opening and closing choruses of the St. Matthew Passion and St. John Passion strongly exhibit the violet quality. These choruses are of such surpassing tenderness and depth that each rehearing of them seems like a new experience, and something new is always heard. These gifts will not be apparent to the first-time listener, or even the tenth-time listener possibly. But at some point our consciousness connects with the intent energy in the music and we feel the full impact of it. The purity of the Baroque style permits this energy to flow unimpeded. Perhaps the complexities of later musical styles do not allow for the ultimate simplicity of the violet energy.
There is no dark form of Violet.
Chakra: Sahasrara (center of upper head)
Violet Examples
| Bach, J.S. | St. Matthew Passion / Kommt, ihr tochter (Come Ye Daughters)
St. Matthew Passion / Wir setzen uns mit Traenen nieder (Here yet awhile) St. John Passion / Herr Unser Herrscher (Lord thou our Master) St. John Passion / Ruht Wohl (Rest Well) Magnificat / Et Misericordia (And His Mercy) Cantata 118 |
Notes:
1 p. 8.