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Alexandra: Good afternoon everybody, this is Alexandra Meadors of  GalacticConnection.com.  Today is September 24th, 2013, and I have a very interesting guest with me today Jill Mattson and her website is jillswingsoflight.com.  She is a very advanced soul, I can tell just by looking at her book,  an author  of the edition, a composer in the field of sound healing and has a great deal of information to disseminate about its impact on our spiritual, mental and psychic growth.  So perfect for the avenue of my site and Jill, I welcome you today.  I cannot wait to get into some of the questions I have.

Jill: I’m so excited to be here! We’re gonna  have such fun!

Alexandra: I know. I’m jazzed to finally’ve hooked up with you after all this time we’ve been exchanging emails. Soo! Tell me a little bit about how you even got into the field of sound healing. I mean I was fascinated that you did a lot of digging into secret societies and things like that. Tell me how did this all come about?

Jill: Well, it was about 25 years ago and my middle son won a contest, he got to go see Bill Gates and  to this 8 year-old, that was so unimpressive to him. (laughter)  But anyway, it was a big deal. He just wanted his perky sandwich, you know, Bill who?(don’t you love it?) But anyway, (laughter) he had to write this essay at school. It was  imagine imagine(?) of a computer and I had just had a baby and the baby was kind of difficult and he and his brother watched the baby when I did the dishes and like that. So his essay was to, how the computer and the hologram of the mother outside of the computer so you could (?)little baby brothers, in the playpen, good little boys could go off to play computer games. Anyway, I had his attention and at this time I was very serious about Christianity, not that I’m not now but I have a whole different take on it now.  But anyway, I took his idea and I started to write the bible like an autobiography ( Oh my) that it would look different from God’s point of view than ours. Like, it there’s enough food… three times over, we might say how God would let a child starve. God might say: pigs, they don’t share. You know. (laughter) So, anyway, I’d started on this quest and it ended up being for me a spiritual quest. And as I went through  I got very upset with the Old Testament. God had, I mean,  he got cranky, he got PMS, he’s jealous and he was kind of small for me. My idea of God, he was supposed to be loving. So anyway, I went through an epiphany and the epiphany was that if my God’s love and if I see anything anywhere, otherwise, I’m (?) it. I was like a psychic on a blind and my world changed. (wow). I saw visions, I heard things,  (?) messages, flying shows and see the  ether and it was just tremendous(wow).And then I went on this quest and I started with other versions of the bible ‘cause I’d put a lot of time in this and realizing this was just for me and not for anybody else so I went for other bibles and I ended up with the Torah and the Jewish Cabbala and then there, was fascinating, went into Sumeria and the ancient babilonian stuff which would’ve been one of the first great civilizations after the fall of Atlantis, prior to Egypt (yeah. Great stuff). And there I went to China and Egypt and anytime I found anything about music, I don’t know, I just think I looked like a porcupine. I mean the hair would just stand up on end and I’d just feel, great. You know, 25 years later, I’ve got like a swee fee of information.

Alexandra: Wow! My God!

Jill: Well the thing, it was. ..but I found was that the thing about sound was important in every mystery school from the Tibetan monks to Lao Tsu, to Buddha, to Jesus. But they were very careful about it. Because sound is like a non respecter of persons to quote christian (?). Sound can be used for evil. Sound can be used to kill. Main control. And so, the information was only given to people who had already proven trustworthy. Therefore, you had to be an adaptor probably a master and the information was transmitted verbally and when the (?) died out so did the information.  (yeah, yeah)But, it’s like each little mystery school , and there were maybe you know hundreds over the globe, over a 5000 year period. They would give you like teasers (?) I mean I am a geek of all geeks! (laughter) Read read read. And I gathered all the tidbits from all over the globe from all these thousands of years and it gave me a picture of how vibrations of your consciousness, your thinking, your connections to stars, galaxies, other beings, how it alters your liver, your mood, whether you’re angry or not, who you happen to like, your friends and your relationships.

Alexandra:  You know, you’ve made a good point here which is the vibrations. Now, we talk a lot about vibrations in the spiritual community.  (mhh)But really, what are they? What do they look like? Where do they come from?

Jill: Well, I’d like to, I like sound because sound is kind of like, think of yourself in a submarine and can’t see out the windows so you put up a little pipe that has like a window and you can see all the ocean around you. That’s what sound is. Sound of course is vibration. But it’s not the whole stuff about vibration. It’s just like a little peek hole. Kind of like that submarine example, so it’s like a window to see it all. But the thing about understanding sound in music is you can watch it and see repeatable behavior and see how sound waves interact combined. Make energy, kill energy. Transfer energy, change, create and alter. And then you can take that knowledge and then compare it to thoughts which is another octave, the musical octave, the span of tones, vibrations. (ahh)Your feelings, it’s just another group, another octave ( interesting), a vibrations. Or your psychic abilities.

Alexandra: That’s really interesting. I never saw it that way. So I mean, you were talking about the secret societies. When did we as a society start moving away from sound healing?

Jill: Ah, we have been moving away from sound healing from what I can tell since the beginning of life on Earth. Because, I believe, this would not be fact, this would be my belief, so take caution here (laughter)…God is  sound, he’s all vibration. That’s what the Big Band is. It’s a big vibration. And when the first beings from the antiquity and plus (?) there is tremendous amount of stuff coming up from Lemuria and Atlantis from Central America, would be the different Indian translation for their documents. And you finding that these earlier Beings were thinner, more ghost like, I don’t know, like Casper the friendly ghost?(laughter) But they were definitely more connected, more spiritual, less embedded in duality, less physical, less solid. And as they lost the connection to the vibratory patterns, said differently, as they lost the music of the spheres, as they lost the ability to tap into this information, which is energy, which is vibrations, they became more embedded in matter. They became more solid and more immersed in duality. To me, you know, I mean the incurable Pollyanna, so bare with me. I mean, or I have to find something good in everything, how annoying that may be. So as we get further and further away from God and we get more thick, heavy and in duality, we also learn skills of independence and we learn skills of decision making and responsibility because we perceive we’re separate. I don’t perceive you and me as a same thing. We’re separate people. When in reality we’re exchanging vibrations and energy right now. (yeah) Just because we can’t see it we don’t believe it but we are. And, so when we have that view of separation, we develop as an individual. And I think when we evolve back to God we take that with us. It’s almost like, I just love life, it’s like I think of all these children stories and they’re like, stories of how the Earth developed, like the piper, how the music drew the children away. And in many, no no in many ways, well, not in many ways the cultures of the music throughout the ages formed the thinking patterns. They entrained the thoughts and feelings in the people which has a tremendous amount to do with the actions in the achievements of each great culture. So as the music evolved and the people became more immersed in duality, we also became less group oriented. The group just divided.

Alexandra: And the tribal kind of mentality.

Jill: Right.  And so now as we evolve, I think the good thing in all that was we’ve learned..children, like with children of God and we’re growing up.

Alexandra: You know, you’ve talked about…I was gonna say, I think the others think about the separation from God, Source, whatever you wanna call it, I think that one of the biggest things that we’re learning right now, especially in the move within the spiritual community today is the fact that we have gone through a severe boot camp. (laughter) And we are really being called to become far more galactic. It’s not even planetary(mhh) and realize that the unification of our selves, the solar system, the universe, whatever, the galaxy, where we wanna take it, however far, we almost have a calling to share that information with beings that  the masses have never even thought existed. And with (yeah) life that we never even recognized was around. And here we are in an amazing, very special, unique rewarded situation once we get to that place where we’re sharing. How did we cope with the separation from Source? It’s one of the most incredible gifts. I mean, we’re all as much as we go crazy with a lot of us reading mundane , we should pull out and say wow, we’re so gifted. Look how many people are being bored everyday that are just ravenous to be here.

Jill: Yeah. And two things with that separation. I see everything in terms of music. But as one throughout the age, it’s like there’s different predominant frequencies as we separated from God. So it’s first we might deviate the primary frequency. If you average the frequency of all the thoughts, feelings of all the people, you can get an average frequency. Which is a frequency, it’s, always transfers energy to resonate, scientific phenomenon, cannot happen. And so that’s how music or sound makes you feel. An so if you have a predominant vibration or predominant music, there’s interchange between feeling and the sound. So your early civilizations as departing from God would be like(?) and then you would learn survival and different types of issues associated with that, with that vibration, that ray like the Descended Masters talk about the rays. Saint Germain of the Violet ray, meaning that there is energy exchange between transmutation and purity. And that’s the life of the Violet Age. So one way that we learn separation from God is vibrating to different tuning pitches. (Interesting) And the second thing I wanted to say is, I know it’s your comment, you were talking about how we could connect to galactic beings, not just planetary but galactic. The ancient people were doing that. (yeah)Their ancient languages of like was actual entity, was not symbolic, like right now we say “book” and we don’t think of the word “book” if the frame is book, it just means book (mh) But in ancient times like(?) And then they make a noise underneath the vibrator, so it would go out and would form patterns. That would be the signature for the word “gong” , make a recognizable pattern like it made a dragonfly. It’s the word for dragonfly. So in other words, the languages of light was what it represented.  It’s like the, you know, it’s like the oral form of the energy.  And the ancient languages of light were each time different starseeds or different vibratory patterns.

Alexandra: You said something about the ages that we’ve been through, like a..the dark ages, the Renaissance, you know, things like that, so are you  also finding in your research that each one of those eras, so to speak of society was equivalent to a mass consciousness’ tone?

Jill: Absolutely. (wow, really interesting). Time was getting faster because it used to be the civilizations were much longer and the getting closer and closer together. And one of the, Dark Ages, one of the fascinating things of music, in one of my cds I have  these beautiful frequency patterns, but anyway, ancient times always tuned to Heaven and Earth. I just think it’s so beautiful. They would see Nature in terms of, trying to come up with its vibration. And how the ancient man got our technology note the vibration of a tree for example. So they’d look at it and they’d see the patterns  and they’d measure them. And  here’s your sacred geometry they would  measure on what did God choose when he made this Earth. What did Mother Nature choose. And then they would do  geometry, combine the numbers, convert it to cycles per second or sound. So music is not entertainment. That would be to rob people of beautiful gift. Music is tuning to Heaven and Earth. It’s being One with God and One with Earth. And they did it through their music. That is called the Fibonacci numbers but also the Fibonacci music which has been gone for, since the Renaissance.  I’ll get into this real story, but anyway, so I put that in my Paint and Soul and they would also have different tuning matrices that would, again, help your ascension. I put that in that cd as well. But anyway, then at the end of the Greek civilization, prior to the Dark Ages, as you mentioned, the competition  for the Catholic Church then would be the ancient Sumerians, which was very powerful stuff. We just don’t know a lot of it ‘cause it’s so old. And the ancient Egyptians and the ancient Greeks. All three did this musical practice. And in between the different Fibonacci numbers, so these spiraling patterns that they found in nature was the interval of five which, that vibration it’s an irrational number, and Mother Nature doesn’t do (?) and she combines frequencies and then she combines frequencies to create an irrational number (?) it goes on forever and it creates a curve in a physical form. So anyway, (wow) yeah, they had all these, their sacred geometry is because it matches God, it matches Nature, it matches things. That’s what sacred geometry is.

Alexandra: I was just gonna ask you what was the important component of mathematics and you just answered it, you know ? It’s like you know, why is math such a significant part of sound healing?

Jill: Oh, it is! It is because the language of the body is math. That’s why. (oh my God) But anyway, that’s my story. So  the Catholic church sees this competition and they ban 5, it’s called the music pilobolus(?)you can go to jail for playing this number. This this, for echoing Nature. And they ban the theory of harmonics..Like you were asking me earlier how we lost our healing. Because the Catholic Church outlawed it and they won in the fight over the, you know, which religion took hold.

Alexandra: when was that Jill?

Jill: The Dark Ages. They banned the sacred music and what happens but the Dark Ages?

Alexandra; Yeah, and it’s called THE Dark Ages.

Jill: (Laughter) for a good reason….would be in Germany where Martin Luther broke the back of the Catholic Church. And at that time those people who were into Lutheran, were Lutheran no longer had to follow the dictates of the church. And that, Bach Mendelssohn, all those, Wagner they’re all German. They are allowed to do it because of Luther.

Alexandra: Oh my gosh, I never connected that! You just beat me to my next one. What’s the difference between Classical music and Modern music today? But wow, the connection between the German composers.

Jill: Bach is nothing  but 5 (?). All of the classical composers are into this sound healing. Beethoven’s teacher was the grand (?) in the, you know, Dan Brown’s Da Vinci Code? (yeah) they talk about, you know, these different societies of ancient knowledge. Well that would’ve been, I think it was Debussy? Was it Debussy? He was the grand (?)

Alexandra: One of my favorite.

Jill: yeah. And Beethoven’s teacher, the Magic  Flute talks about it. Bach is using these ancient codes. I don’t think there is a classical master, tide into this information, it’s  like it was hidden for so long, I don’t know…

Alexandra: And think about it, god, it’s exactly what you said where that all came about right at the beginning of the Renaissance.

Jill: Right. And then as the Renaissance progressed, this is very important, the temperament scale started to be introduced because prior to this time all music was controlled by the government because they knew how powerful it was. (wow) and they used it to maintain peace and their people. And of course control them. Have certain virtues and values. Notice, the Chinese have a stereotypical personality and stereotypical music. Every society does. And there is no accident to that. Note, like, in ancient China, you are not allowed to listen to anything different. So they’re always controlled. But it was at the Renaissance, whereit opened up. That happened, then the singers wanted to then be able to sing in their range so people had to transpose these keys. Now, Mother Nature, in her music, in her scales, in her sounds, it’s not mathematically easy. Everything is a spiral. Everything is a circle. And it’s very expensive to play in Mother Nature’s keys. Because she needs a piano for every key. (interesting) ‘cause it’s slightly different. And so all of Mother Nature was chucked and we have our scale today which disconnects us from Earth. And what happens as soon as we do this? Mhhh. The industrial revolution and we plunder Earth.

Alexandra: Oh my God, that is wild! Now does this fit in with the 432 hertz versus 440 hertz?

Jill: Yes. And to me that is like a little drop of the bigger picture. If you look throughout the ages, the tonal pitches have been rising as each great civilization has learned its lessons. So like, I believe that as you go back further in time, you’re going to get lower lowering pitch for your tuning notes (wow)  and the patterns across time.

Alexandra: You’re really showing me how everything is so interconnected. I had no idea.

Jill: You have been in this one big song.

Alexandra: wow! I am floored! I’m so floored.

Jill: And here is another cool thing, speaking of the universal song. If you take a human voice and you raise it three octaves, no to make it three times faster, I think, no it’s raise it three octaves. You’ll get a cricket sounds  and you can go on youtube right now and look for cricket sounds in choir sounds.

Alexandra: I’ve heard it! It’s beautiful!

Jill: you take a cricket sound and you turn it down 3 octaves and you can hear the human, the beautiful angelic humans in it.(it’s incredible) So that’s a piece of the pie, it’s a piece of it. The bigger piece is, the secret is, if you do it 5 times heron pitch, you will create bird sound from human voice.

Alexandra: WOOW! OH MY GOD!

Jill:  7 times you will create dolphins…if you take it up 9 times you’ll get whale (oh my god!)You are gonna like this one, this one’s for you. If you take the human voice up 11 octaves you can get star sound

Alexandra: OH MY GOD, THAT IS SO COOL!

Jill: yes it is. (smile)

Alexandra: I’m actually, I’m kinda shocked. Because I grew up with such a musical family and I didn’t know this, but you know.

Jill: Well, it’s not part of any music history. You don’t go to school and learn about this. You don’t go to college and learn about this. It’s not out there.

Alexandra: It just puts you in awe. You just go back into that state of awe of how magnificent the world is. So tell me something. Define to me disharmony through the eyes of a sound healer, you know,  through someone who knows sound the way you do.

Jill. Well I believe that we are wired to like certain patterns. For example, if you look at phi. There is phi and there is different proportions of the Fibonaci numbers in our body. And if you were to take women’s faces and men’s faces and the ones that line up perfectly to phi, everybody is gonna say they’re beautiful. I f they don’t, they’re gonna say they’re not good looking or disharmonious. And the same thing would be in your body. It’s like a sound that you make with your voice. With the shape of your skull and different parts of your brain, it comes back in, certain different bounces are gonna create phi. You know, so it’s like phi within, phi without. And we are heart wired to like certain sounds. Like the musical interval of the fifth which is simply one note five notes away, really easy stuff. We all listen to it and all go ahhh. And we’re just heart wired to like that. So why Mother Nature uses these patterns, I guess, I don’t know but I would just define harmony as patterns that make us calm, relaxed, happy, open and easy to go with the flow.

Alexandra: Wow. So do you feel that sound healing is different than vibrational healing or is it just one of the same. Do you consider them the same?

Jill: Sound healing is, in my opinion it’s the most powerful modality  of the vibrational healing. And the reason is science. Sound is not better that any other  modality. No, no, no. It’s stronger. And the reason why any vibrational healing works, why food happens to be nutritious or any type of healing thing. It’s an energy transfer. And again, you can see how the whole world works.  So you can see that energy transfers between the same note if you have two violins in a G string, should’ve used another string, a, anyway (laugh)an energy transfer, like if I play one violin, the other violin is gonna go off and think of it like an invisible gerbal tunnel with sound from one, the same vibratory essence to the other. And that’s how healing works and it’s also how illness works. But anyway, so when you have the same note, energy transfers when you have an octave which simply means the  same note just higher, like pum pum (Jill sings an octave) same note but it’s a higher version of the that note, that’s an octave. When you have an octave energy also transfers, but a little less.  And if you have like let’s say 100 octaves, you have maybe a lot less. The reason why sound is powerful it is THE same pitch as everything in your physical body, your thoughts and your feelings. So the resonance is the greatest.

Alexandra: Wow. Well so, I was reading through your book the other day and I was,  called Secret Sounds, Ultimate Healing by the way, and I was fascinated, can you tell the audience a little bit about how sound frequencies are transported through the body? I was shocked at how many different ways it’s carried through the body. (sure)

Jill: First of all you ingest sound. It’s like you eat sound every bit as much as you eat food.  For example, how, how does your body know when you’re eating a twinkie versus broccoli? It counts the cycles per second, for one. Meaning that math would be the language of the body. But ahm, so when you actually eat food you’re actually eating a sound that’s too small for you to hear as it vibrates. And so you can hear sound through what your ears, that’s like  a fake internet the central nervous system. It’s the power house, it even digitalizes sound so that it can be like a massive internet of sound and vibrations through the body as far as it reaches. Sound goes to cell to cell transfer  like on your skin or in the layers right underneath your skin.  Sound goes to cell to cell transfer on the tissues surrounding your nerves. So that would be like a comparative analogue with the central nervous system would be comparable to digital. And the work of physicist Robert Becker says that the most impactual frequencies are those that go cell to cell transfer. And you ingest sound in your skin. That’s like when you hug somebody you open up your arms because you have more intake sound centers on your chest than let’s say you do on your back. (Oh my god!) Yeah. So ‘cause when you open up you’d be more vulnerable, you’re more willing to share those little vibrations simply by spreading your arms to hug the other person. So anyway, you can take it in in all these different ways but the work of Robert Becker suggests that the ones that affect  your consciousness would be little tiny subtle sounds like geo-magnetic sounds, the sound of the Earth and the orbit. The little sounds coming in that are below our hearing range from the stars which I’ve put in my Star Dust cd because the ancients would tune to heavens and ahm, it was beautiful, beautiful enlightening process and I did that in my Star Dust cd you know like if you need to look at the,  you could buy off the I’m so excited, you could buy off the motor (?) the frequencies coming in from their satellite on a day and so let’s say if a frequency comes in, it’s comparable to the frequency of (?) anyway it’s a call that’s better that day so you absorb these little tiny sounds. And that’s like my cds the Healing Matrix, they’re all audible but I put in winy tiny sounds. (Nice )hmm, works actually.

Alexandra: So now, is there actually a correlation between a sound wave and a brain wave?

Jill: Yes. Absolutely. Again, energy transfers between all waves. I like to think of a brain wave as a wave in  octave of sound.  And I think scientists are gonna know so much more about that as soon as they put the equipment on the line, going delta, beta ,ta da da…and they put it on a spiral, in a circle(wow) then you can understand the relationship. Because one of the things…when you think like this, you can take all these realms and just start interposing. For example, on a color wheel, you have your complimentary colors across the chart. When you look at the math underneath you will see that red and green are complimentary colors like red and green cancel each other out. Ahm, in fact red might be the big (?)it’s way out of bound if you’ve got too much red, you’ve got too much of this vibration and you can start to heal it with the complimentary color or frequencies comparable to green. So if you would start to look at your brainwaves on a circle, you would begin to be able to have much more factual  method of controlling your thinking by understanding the math underneath the waves.

Alexandra: You know you said something really, really important here. And that is. Looking at it through the perspective of a spiral, instead of a flat line. And even the pyramid has taken the whole physics of perspective in the exact same way, where you look at the Solar System through the eyes of a spiral. (yes) And it’s completely blown opened the whole field, you know. So we’re really coming back to the Fibonacci. Now, how, you’ve talked a little bit about, you know, five, seven, nine, eleven, like eleven I believe you said was the stars and nine was the whales and seven was…which one was seven? Ah, so is there like a signature frequency, ah, obviously there’s one for each animal or insect, or whatever. So, is the signature frequency of say  a snail or you know, is it radically different than that of a butterfly? I mean how does that work?

Jill: ahm, I haven’t actually done the specific research on the smaller ones, but I would think that one of the things I’d learned is that there are cycles within cycles within cycles or said differently: there’s sounds within sounds within sounds or said differently: this is the time of the age of violet. We’re all  learning lessons in violet. There’s a lot of people that have the violet ray but every little person has still a rather different set of frequencies. Yet we have a lot of bigger commonalities.  So I would think different subgroups have the same fundamental frequencies but they might have more individualized sub set of frequencies and that may count for let’s say, you know, a fly versus an ant, perhaps. Am I making myself clear?

Alexandra: Yeah, yeah. So basically the more frequencies that you accumulate which would almost be equivalent to experience, right? The higher your frequency goes.

Jill: mhh, it could. It could go the other way too.

Alexandra: That’s true, that’s true. I tend to be a lot like you where I look at everything as a glass half full

Jill: (laughter)

Alexandra: Now how about this. What do you feel is happening on a kind of level when someone is moved to tears when they listen to the music.

Jill: I think it’s beautiful. Right off the bat. Ahm, one of the most powerful ways for healing a human is through the octave or the range of frequencies we call feelings. And there’s a science behind it. And, ahm, what I’ve learned is that each one of your virtues: patience, courage, freedom, purity, is a frequency. It’s a sound. In other words, ahm, if you would to take the same sounds of emotions, remember there’s transfer between octaves and nodes, so let’s say there’s a note at C, a musical note of C, is the octave of the color red. It’s an octave of confidence, insecurity. It’s self starting….it’s got a certain set of emotions that exchange energy with that color, that frequency, that note. And ahm, so then, you can basically learn to master the whole emotional thing by simply learning to balance, listen to all the notes. Ahm, and one thing I found is that each particular frequency has a positive and an negative manifestation.  And I’ll give you an example in real life but also in my personal life. I was doing these healing flowers symphonies in which I had gotten the frequency of 12  virtues and, this is kinda boring to listen to, so I put, being a musician of course, I put  the music that matched the virtue. So if we have one on courage, the music sounds like courage. Ahm, and I am so excited to know here I am healing the world!wahu! And I (?) a noursing home (aha) where my audience was, only my audience, because they were waiting to get into the lunchroom, then another thing they had to come early and sit and I played live violin music…I would have got hit with a cane if I played anything happy…they wanted stuff from when they were kids, really sad stuff (both laugh) just wanna  cry. And so you know, they were functioning so they weren’t heavy on drugs. (right) ahm, no one talked to me in 6 months. No one said hello to me. Nobody said hello to anybody. You know, it’s like  everybody comes in and acts like a statue or something. Then the doors open and everybody leave (laughter)So ahm we played our hearts out for 6 months and then they started talking to me. I thought, well, may be my warm personality finally warmed them up (laughter) maybe!

Alexandra: I am hopin’ so! (laughter)

Jill: (laughter)I actually think it did. In 9 months everybody was actually talking to everybody else. It was like a total transformation. And it dawned on me, it was the sad music!  And it’s like this. We, whenever, I do this all the time, I say: Oh, I’m such a good person. That didn’t bother me. And I am just lying to myself because I wanna be a good person. And I have this little package of pain. And it’s a vibration. And it’s energy. I can’t see it but it’s stuck on me some place. And it’s just sitting there.  And these older people throughout their lives, I mean they were just full of junk (yeah) and they were so full of pain, they couldn’t talk! (right) well at least when you cry, when that music made them get in touch with the pain, they didn’t have to think about “ oh, that rotten Frank he did this, this and this”, they could skip all the specifics, skip the judgment, feel the sorrow, feel the loneliness  (and relief) and let it go. (yeah, release it). So then I went back to my flowers and I put in the cathartic release and I always say (?)but you do release but, and you feel your sorrow on the way out and that’s why sad people wanna listen to sad music and feel sorry for themselves. Because it’s the subconscious way of taking out the garbage and ahm, the thing is that the pain when you release horrible emotions, will not kill you , you know? Give it its light, give it its day and you get rid of it. You’re afraid of feeling things out, you get to keep all the crap.

Alexandra: yeah, and isn’t that the number one key to almost all the healing which is god be willing to release it, you know? Instead of hanging on to it, you know. Which leads me to my next question which is, you know, at what point does frequency get blocked from deliberated signature into the body? You know, where do you find out?

Jill: Ok. Ahm, well I wouldn’t say so much as frequency blocks but it’s harmony. It’s like, if you look at red and green and I am just taking them because they’re complimentary colors. Think of them as a seesaw. You know if you’ve got too much red, you have too little green. When you have too much green, you have too little red. Now I’m gonna say the same thing differently. When your body, and you look at the frequency of everything, has too much of the note C, too many things vibrating at the note C, then you’re not gonna have enough of F, because that would be the musical note of the complimentary color. And if you’re healthy, you’re gonna have a little bit of each. Think of Ascension as white light and that’s nothing but all the rainbow colors.  And when you start to yank out the rainbow colors, you start to get out of balance. And that can create illness. And so it’s like you….sometimes the Universe is just so wonderful…whenever you are around something that you need, frequency wise, for health, mental, emotional, physical, whether it be a person, whether it be a tree or a flower, fragrance, food or your favorite cd, your body will release its endorphins. So let’s say you’ve got a cd here and its frequencies and your body says:” hey, hey, hey! Give me, give me give me”, so you play it over and over and over again and you ingest it and you listen to it for 3 months and all of a sudden you’re sick of it. What’s happened is you’ve taken all that you need. You’ve now got that seesaw balance. And if you continue to listen to more you now are gonna get out of balance.  That’s why you don’t like it anymore.

Alexandra: Right, right. I can totally relate to that. That was the essences that I create. You know I wanted to ask you, in reading your book, one of the things that really popped out for me is I had a very good friend who is just a master nutritionist and she had kind of exposed me to the core issue within the body. They have now found scientifically is the  vagus nerve. (mhh) and they had determined that the vagus nerve is probably the number one, core, ahm, disfunctioning ingredient for things like leaky gut, not being able to digest your food properly, you know things like that. And so (mhh) I noticed on one part of your chapter it talks about the parasympathetic nervous system (mhh) regulated by the vagus nerve. I was just fascinated that the vocal chords lie within that bundle. So, is this essentially everything, it gets down to the vagus nerve, as far as reading the signature or the imprint or the vibration self?

Jill: Ahm, well that’s one way. The body has many ways to import signals. And that’s an incredibly important way to import signals. And when you say this, that your voice, it’s not just the sound. It’s all of you. Your voice contains your digestion, your liver, the fight you had yesterday, the perfume you’re wearing, the essence you just used. All that stuff is gonna be reflected in your voice ‘cause it’s a vibration. And your body takes every vibration (?) and it is your voice. And just as a crystal can take a beautiful sunlight and display a great rainbow you can get software online nanovoice.org, it’s free. And you  can tape your voice and break it in the component pitches. And when you do that you can see, well you’d probably would have to be a little bit educated, you can see, ahm you know, your digestion, any disease you have, your thinking patterns, your feeling patterns and we study and work with Sherry Edwards has these courses and you can look it up like what’s the good cause. Think of anything in your body like a domino. You could just be walking along and all of a sudden fall and break your leg but actually perhaps it wasn’t physical, perhaps you were having an emotional problem that  weakened a  certain muscle (right) and so you might think of physical but the root cause is emotional. And so you can look in your voice and see the root causes and how obscure things affect each other vibrationally.  And so your voice is all there is. That’s who you are. And the vagus nerve runs right to your vocal chords taking everything in your voice out your body. Now there is other ways, I think there is a feedback loop and this is again the work of Sherry Edwards, she was born with extraordinary hearing, like she could hear your disease or lowering transmitters, small volumes that you would hear. So what she does, she could hear frequencies coming out of peoples’ ears. Today they use this in modern hospitals. There are frequencies coming out of peoples’ ears and they can use that to diagnose babies and comatosed people who can’t speak their symptoms. So it’s already verified but at any rate, it’s like that feedback loop. You cut your foot and all of a sudden, instantly your body is repairing it. So how does that happen? Before the signal had time to go up to your brain and back down, your body is already fixing the stuff. Because as soon as you cut that toe your frequency goes off. Your body picks it up like radio antennas? And  then the signal comes out of your ear: cutting a toe! Cutting a toe !”, and instantly your body goes and repairs it. I like, I always think of, I like things simple so I can understand (smile), I kind of imagine, we need to have antennas sticking out of my ears and they’re broadcasting. So there’s many ways that frequencies go through your body.

Alexandra: You know I had an experience Jill with a practitioner, who did bioresonance feedback (mhh) and they used this similar type of concept where you spoke into a recording and it was played back to you through a transducer (mhh, mhh) and I couldn’t get over, I mean like, I would say very quickly there were major emotional, mental, very old things, like that you weren’t even conscious of, that were already being healed. (mhh) it was fascinating. So I know that the voice is a very very significant way of healing.

Jill: The work of David Oaks, yeah, I think he is an aussie. Anyway, he was in the 80s or something, he had a tape deck in his car and it was broken and he was driving and he was lazy and he didn’t, you know, the tape was going backwards and he got all kinds of messages and hence he spent his whole life reversing  your voice. And he’s got all kinds of books on it. And not just that tape, all of us when we reverse our voices at certain speed we have messages. (God)  No wonder Jesus when he talked about about speaking with the 4th tongue, you know when you lie, so you have the true voice, the voice we think of but if you reverse it you have the truth. Kind of like speaking in the 4th tongue(wow).

Alexandra: And I’ve heard that…is the guy’s name David Oak?

Jill: Yes. And then it gives meaning to the truth will set you free. Because then you will have harmony.

Alexandra: Fascinating.  God, I’m gonna have to check him out. Now getting back to something you said before, you brought up the analogue versus the digital (mhh) Is one better than the other for the body?

Jill: I would say they’re both vitally important. The digital it’s like our internet. It take high volumes of information and gives it light speed throughout your body. That’s very important. But it’s like if you take a photograph and you know, if you think you have a really cheap camera and it doesn’t have enough pixals. You can see that the picture is kind of grain and lumpy. Whereas if you were to use the film you could see how much  finer detail, how much higher quality it is. And so the higher quality with all the little details, it’s the same as analogue sound. See, analogue sound has every pitch and every pitch has a harmonic and it’s all accurate and perfect whereas digital or a digital camera and you can see it in a cheap one has a certain amount of distortion. So I would say that they’re both important for different purposes. Again, back to the work of the physicist Robert Becker’s work, books like Cross Currents and so forth, ahm, again, he was showing the horrible things that happened from cell phones and electric wires, again, frequencies out of our hearing range that distort us. But he was showing that if the analogue, the little tiny frequencies that he believes create our consciousness

Alexandra: Interesting. And I remember somebody telling me a long time ago that when we switched over to digital recordings in the studio like all the  music that’s been released today is digitally recorded, this particular person told me that you know, it’s not as rich (it isn’t), it’s not as beneficial for the body. It’s almost discordant for the body and that’s one of the reasons that it was done. Do you….any idea on that?

Jill: I don’t know if that was the reason it was done. I would think, at least on the surface, it appears that money tends to do all these changes where we get further and further away from nature, from God. It’s, it’s unnatural. It’s what it is. And is analogue better? Oh my Gosh! Yes. It’s a live concert…woo hoo hoo! Much better!

Alexandra: True. Very true. Now tell me a little bit about what … solfeggio frequencies. I use them a lot but just for the audience can you tell everybody about that? Why they are so significant in today’s world?

Jill: Ok. Ahm, there is a lot of….there’s a lot to that question.

Alexandra: Yes there is (laughter)

Jill: At least I first found them in Ancient Egypt. They were using them then. And you know Moses, of the Hebrew bible, was raised as a pharaoh’s son and would have access to the Egyptian information. Six of the eighteen solfeggio tones had been found and coded in numbers in the old Hebrew bible. Then they surfaced again, and they were used for healing, they were used for priesthood to elevate their disciples. Again, mind, body, soul to make them more spiritual, to make them more psychic, to make them more harmonic, to make them have better health. When you have a whole matrix pattern it’s kind of a consciousness mind and body, it helps on all levels. So the Hebrews used them, the Egyptians used them. They surfaced again with the Catholic church in the Dark Ages as we previously had said that they had outlawed phi.  Now one of the most extraordinary things about the solfeggio tones is that they are phi less Perfectly avoiding all five. In the way I look at that is if you were to compare tones to shapes, I know, we’re gonna pretend. You have a sound retro etch, I love toys. Ok so the right nob makes a straight line and the left nob makes the curve. But instead of the etch straight  lines and curved lines we’re gonna have sound. So the right nob is going to be your solfeggio, your left nob is gonna be phi. And between the two of them you can draw anything. So I think they’re both highly valuable. The other thing, really quite extraordinary, about this rich matrix is that when we use gematria which is an ancient art of converting everything to numbers for the purpose of analyzing waves and vibration and comparing them to different dimensions or perspectives. In other words comparing sound to shapes to trees to leaves. You know they would take everything down to numbers and consider that number energy and then transfer it to different ways of looking at the world. Like music is easily numbered. You can use geometry to look at a leaf and analyze its shape. So they have numbers, being the universal language of everything and they had this little system, they have numerous ways, in which they would transpose numbers into prime numbers and letters into numbers and it was like a…it’s like a way of doing resonance between these different entities, writing versus sound. And so when you applied it to the solfeggio tones, you find that they are a matrix of the numbers 3,6, and 9. And there is 18 of these.  Now Tesla, the same scientist who mysteriously was to have demonstrated extraordinary powers of energy and also the same science of Kepler and again who had extraordinary inventions and they hid it (yeah) because they thought the mankind wasn’t ready. Both of them said the secret to energy, the secret to the Universe, the power of the Universe, it’s nothing but a 3,6, 9 matrix. And both of them refer to the sounds of 3, 6, and 9. So I just thought that was a little fascinating, intrigued with solfeggio.

Alexandra: Yes. I knew about that. My husband does, yeah, he works for that kind of stuff. Jill, I have a gazilian of questions for you but I am realizing we are already at the end of the hour and we can always try and carry this on to another time segment but I wanted everybody to please check out her website at jillswingsoflight.com. Oh, I’m sorry  wingsoflight.com, excuse me. And also paintyoursoul.com. She is a phenomenal artist I mean I was just really impressed with your art work as well.

Jill: I’m free…for the flower healing, for the(?) healing, solfeggio, Fibonacci, on the home pages of jillswingsoflight.

Alexandra: Yes, and she has offered that and for every person that purchases a cd from her she will donate a dollar to galactic connection so please support her

Jill: And yes, my email is jillimattson@yahoo.com,  so if you can’t make a comment that you made this purchase through galactic connection through this radio show then just shoot me an email and let me know so I can properly donate. It’s  jillimattson@yahoo.com

Alexandra: ok thanks everybody so stay tuned to a phenomenal, I mean the dissertation on sound healing from Jill. It’s really impressive, I mean I learned so much today. I am very impressed. So Thank you again, thank you again (ok, sounds good) for coming. Take care.

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