In the beginning was the Word, and the Word was with God, and the Word was God. The same was in the beginning with God. All things were made by him; and without him was not any thing made that was made. In him was life; and the life was the light of men. And the light shineth in darkness; and the darkness comprehended it not. – John 1: 1, 5
The sounding scale of seven tones exists in the entire cosmos. The seven tones of the great scale, with the wonderful rhythms of the fire, resound in the entire universe.
Mahavan and chotavan are the fiery rhythms that maintain the universe firm in its march.
By singing in the temples at the dawn of creation, the seven cosmocreators celebrated the rituals of fire.
Without the magic of the word, without music, without the creative Verb, the universe would not exist: "In the beginning was the Word."
Ancient [Asian] archaic traditions state that the knowledge regarding the sacred Heptaparaparshinokh (the Law of Seven), was revived many centuries after the Atlantean catastrophe by two initiate brother saints named Choon-Kil-Tez and Choon-Tro-Pel, who at the moment are in the Purgatory planet, almost ready to enter into the Absolute. In Eastern [Vedic] language it is stated that the Purgatory planet is the region of Atala, the first emanation of the Absolute.
These two saints are twin brothers. The grandfather of these two initiates was king Konuzión, who wisely governed the ancient Asian country called Maralpleicie. The grandfather king Konuzion descended from a wise Atlantean initiate, a distinguished member of the Akhaldan Society. That society of wise people existed in the submerged Atlantis before the second transapalnian catastrophe.
These two wise holy brothers lived the first years of their life in the archaic city of Gob, in that country named Maralpleicie, but later in time they moved to another country that later was called China.
These initiate brothers were forced to immigrate, leaving their native town, when the sands began to bury it. Gob was buried by sands; thus, today that place is the desert of Gobi.
In the beginning, the brothers were only specialized in medicine, yet later they became great sages living in what was later called China. These initiate brothers had the high honor of being the first investigators of opium. The brothers discovered that opium consists of seven subjective independent crystallizations with well defined properties. Later works came to demonstrate to them that each of these seven independent crystallizations consisted of another seven properties or independent subjective crystallizations, and each of these had another seven, and likewise indefinitely.
They were able to verify that there is an intimate affinity between music and color; for example, a colored ray directed upon any element of the opium transformed it into another of its active elements. The same outcome was obtained if instead of colored rays, the corresponding sonorous vibrations of the chords of a musical apparatus known then with the name dzendvokh were directed to any active element of the opium. It was scientifically verified that if we pass any colored ray through any active element of opium, the ray changes color—that is to say, the color matches the vibrations of the active element. If any colored ray is directed through the vibrations of the sound waves of the chords of the dzendvokh, that ray changes to the color corresponding to the vibrations of the given chord. The dzendvokh was a formidable musical apparatus, with which it was possible to generally verify the power of musical notes on the opium, and generally upon all creation.
If a defined colored ray and sonorous vibrations—defined with complete exactitude—were directed upon any active element of the opium (chosen among those with smaller vibrations than the total vibrations of the colored ray and the mentioned sound) then the active element of the opium was transformed into another active element of the same opium.
It is intriguing to know that the seven subjective crystallizations of the opium corresponded another seven, and to these another seven, and thus successively. It is also interesting to know that the septenary musical scale correlates to the septenary subjective crystallizations of the opium. Many experiments have also come to verify that the septenary subjective scales of human subconsciousness correlate to each septenary subjective classification of the opium.
If music can act on the septenary crystallizations of the opium, it is then logical to think that it can also act on the corresponding subjective septenary classifications of the human being.
Opium is marvelous, because it receives all the powerful vibrations of the ineffable Protocosmos. Unfortunately, people have used opium in a very harmful and detrimental manner for human organisms. Many are those who used opium to fortify the tenebrous properties of the abominable Kundabuffer organ.
Many centuries after the sacred rascooarno (death) of the holy brothers, a very wise king existed who—based on the same theories of the mentioned initiates—constructed a musical instrument called lav-merz-nokh, with which he could verify many wonders related to music. The wonderful thing of this musical apparatus is that it had forty-nine chords—seven times seven—corresponding to the seven times seven manifestations of the universal energy. This apparatus was formidable; it had seven musical octaves that were related to the seven times seven forms of cosmic energy. This is how the human race of that epoch knew with flesh and bone the "sacred Hanziano," that is, the Nirioonossian-World-sound.
All the cosmic substances that arise from seven independent sources are saturated by the totality of sonorous vibrations that the mentioned apparatus of music could make resound in space. We must never forget that our universe is constituted by seven dimensions, and that each of these has seven sub-planes or regions.
The musical apparatus constructed by King Too-Toz made all seven dimensions and all forty-nine energetic regions vibrate intensely.
In this day and age we already have formidable, revolutionary, and wonderful music based on the sound thirteen, yet we urgently need musical apparatuses like that of King Too-Toz.
We need to vivify the Nirioonossian sound vibrations of our world in order to intensify the cosmic sources of universal substances and to successfully initiate a new era.
The world was created with music, with the word, and we must maintain it and revitalize it with music, with the word.
The sacred law of the Heptaparaparshinokh serves as a foundation for the entire septenary musical scale.
It is urgent for all Gnostic brothers and sisters to comprehend this 1965 Christmas message—that is, the necessity to study music.
It is urgent for all the Gnostic brothers and sisters to always chant the five vowels I, E, O, U, A.
It is necessary to comprehend the value of the word and not to profane it with unworthy thoughts. It is as bad to talk when one must be silent, as to be silent when one must talk. There are times when to speak is a crime; there are also times when to be silent is a crime. There are criminal silences, just as there are infamous words.
There is a universal language of life spoken only by Angels, Archangels, Seraphim, etc. When the sacred fire blooms in our fertile lips made verb, the word becomes flesh in us. All the mantras known among the occultists are just syllables, letters, and isolated words of the language of the Light.
Whosoever knows, the word gives power to. No one has uttered it, no one will utter it, except the one who has the word incarnated.
This chapter is from Spiritual Power of Sound (1966) by Samael Aun Weor. The print and ebook editions by Glorian Publishing (a non-profit organization) are illustrated to aid your understanding, and include features like a glossary and index. Buy the book, and you benefit yourself and others.