Intervals: Mi-Fa

Intervals: Mi-Fa

The law of seven, or the law of octaves is an objective principle by which all activities on all scales are governed. Do-Re-Mi-Fa-So-La Si-Do. This is an ascending octave. Within octaves are two intervals at Mi and Fa and at Si and Do.

Octaves can be ascending or descending and the intervals are the points where the octave deviates. All mechanically occurring octaves from atoms to galaxies, including all organic life on Earth, where no conscious effort needed or required, are descending octaves. The octave begins at Do and mechanically descends through the devolving notes Do-Si-La-So-Fa-Mi-Re-Do, the last Do being the note of the new octave. This why there are no straight lines in nature.

In relation to the microcosmos Man, because conscious development is not a requirement for life on this plane, all activities, the living, loving and dying are comprised of descending octaves. In a descending octave, if the Do of the octave is strong enough, eventually it becomes it’s own opposite, all the while retaining the same name it was given at the start, yet bears no resemblance to it’s original impulse. Eventually it deviates to extinction. This is also why negative emotions and negative states don’t last forever. But they use up most, if not all, of the finer energy that is needed for self-remembering.

Conscious evolution is an ascending octave. At the Mi-Fa interval is where imagination or identification enters. Inattentiveness, distractions, loss of interest are all hallmarks of the Mi-Fa interval. Earlier this week I dined with the Teacher. It’s a formal affair with twenty or so students seated at the table. It so happened that I was seated directly across from him. During the event, the Teacher, as is his custom, spoke in a soft even tone, directing his energy towards as many of the diners as he could, rather than just focus on the student directly opposite him. The effort to stay attentive to him foments the state of simple unobtrusive presence. At one point during the dinner as he was speaking, he looked at me directly and continued to teach. He didn't raise his voice or alter his tone, nor do or say anything differently than what he was already doing and saying. But at the moment his gaze settled on me, immediately the realization occurred to me, like a light being turned on, that my presence had waned into an almost non-existent state. I’s were ‘bubbling up’, as it were, and were almost about to submerge my state completely. The Teacher had observed a Mi-Fa interval. He quietly and unrelentingly brought me back to self-remembering with his own unpretentious presence.

The accompanying image of Jesus asleep is a portrayal of the steward, as depicted by Jesus, asleep. The steward is in an interval and does not monitor the lower self. It takes outside help (the help of the Teacher or other students) to re-vivify the steward.

We cannot speak of intervals without including the relationship of the other notes. The note in an octave that has the most influence is Do. It would be natural to believe that the stronger the Do the more likely it will be that the octave continue. However, by starting an octave on a ‘passive’ Do, there’s less of a gap between Mi and Fa that needs to be filled which in turn allows for a modicum of effort to bridge this interval.

You can verify this yourself. Next time you wish to begin something, a meeting, take in an impression, a household chore, first be attentive. Quiet the i’s, look through your eyes rather than with them. Divide your attention and allow presence to ascend quietly and inconspicuously. Bear in mind though the following advice from the Teacher. He says that the present may not always be beautiful, but it is always beautiful to BE present.

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Jesus Asleep in the Boat, detail.

Illuminated manuscript (12th century), Cologne