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The Divine NameThe Sound That Can Change the World
By Jonathan Goldman
HAY HOUSE, INC.Copyright © 2010 Jonathan Goldman
All right reserved.
Chapter OneIn the Beginning
I remember as a child being with my parents in a synagogue on Yom Kippur, the highest of holy days of the Jewish year, looking at the prayer books and seeing the Hebrew word [TEXT NOT REPRODUCIBLE IN ASCII]. Someone pointed at this word, composed of the Hebrew letters Yod Hey Vav Hey (written in English as YHVH), and in a hushed voice said: "That's the secret name of God. It's so special that whenever we come to it in prayer, we say 'Adonai' because this secret name can never be spoken."
The concept was breathtaking and awe inspiring! A chill went through my young body as I stared at the word. A secret name that could never be spoken? That was something I wouldn't forget. Years later, as my interest in this name continued, I was told by someone versed in Hebrew mysticism that the name [TEXT NOT REPRODUCIBLE IN ASCII] was really pronounced "Yahweh."
Yahweh. Yahweh! Yahweh?
With bated breath I tried it: "Yahweh." My heart raced, but nothing very special happened. I tried it again: "Yahweh." My heart still raced, but I hadn't been struck by lightning ... nor had Iexperienced enlightenment. I tried it a third time, and when still nothing happened, I shrugged my shoulders and moved on with life, deciding this secret name wasn't what it was cracked up to be.
Then, decades later, came the dream. The year was 1993. I had just spoken at the International Sound Colloquium in Epping, New Hampshire, presenting material on the uses of sound as a healing modality. Before returning to my home outside Boulder, Colorado, I visited with my dear friend and teacher Sarah Benson and her husband, Donald Beaman, in Chelmsford, Massachusetts, a suburb of Boston.
Sarah was the woman who had first initiated me into sound more than a dozen years before, setting me on this path of sound healing. She continued to be my teacher, friend, and guide as I made my journey on this planet. I suppose it is only fitting that I should have had this experience of the Divine Name while at her home. My previous book, The 7 Secrets of Sound Healing, was dedicated to Sarah, whom I described as "The Divine Mother of Sound Healing." Nothing has changed since that dedication, except that Sarah has transited from this planet. I still feel her presence.
Years before this dream, I'd discovered a system of using specific vowel sounds to resonate the chakras. That had come to me on March 21, 1986. I remember the date well because I'd been engaged in a powerful meditation that had assisted in this discovery.
Please know that I wasn't alone or original in the idea of using the vowel sounds for chakra resonance-I'd drawn upon the knowledge and experience of others and simply modified some of these sounds in order to find a specific system that worked best for me.
In truth, I must admit that I don't remember the exact details of the dream I experienced at Sarah's. I just recall waking up and being told to write down the system of vowels that I'd developed back in the '80s to tone the seven chakras. This system-which I'd been teaching for many years to balance the chakras-utilized a particular sequence of vowel sounds in which I would begin sounding the first chakra, located at the base of the spine, going upward until the seventh chakra, at the top of the head, was reached.
The Sacred Sound Awakening from the dream at Sarah's, I was told to sound the chakras in a specific order. I wrote down the new order of vowel sounds and examined what I'd written. It was simply a reversal of the normal routine I'd been teaching on an almost weekly basis, only with a bit of a twist: I would start at the crown chakra and go down to the root chakra, and then go back up to the crown chakra. In all my years of teaching this system, I'd never reversed the order by starting at the seventh chakra and going to the first. Nor had I taken a further step and gone back up to the seventh.
But what could be special about that? I had to try it. Two things immediately happened:
1. As I intoned the vowels in this new manner, I felt the energy go from the top of my head down to the bottom of my spine, and then back up and out the top of my head. 2. I distinctly heard the name "Yahweh" in the elongated vowels I'd sounded.
In truth, I'd expected the first experience to occur, since I obviously knew about the vibratory relationship between vowels and the chakras. But I was absolutely astonished by the sonic revelation of the second experience. Somehow it seemed that I'd stumbled upon, or been guided to, the correct vocalization of the Divine Name-the Tetragrammaton. In actuality, this wasn't a spoken word, but rather a sound composed of elongated vowels that had to be intoned!
I knew I'd discovered something big. Extremely important. Perhaps even earth-shattering. And it was so very, very sacred. If legends about it were correct, it might even be a sound that could change the world!
Just one question remained ...
What Was I to Do? My response was initially to do nothing. You might well be wondering why I would choose such a course. The answer is simple-I wanted to be responsible. I'd been taught that this was a name so powerful and sacred that it was never supposed to be spoken. As will be discussed in the next chapter, its pronunciation had been suppressed, banned, and ultimately lost for millennia. I needed to determine if the vocalization I'd discovered-the actual intonation of the Divine Name as vowel sounds, not as a spoken name-should be shared with others. It certainly was the most powerful sound I'd ever experienced, and represented what I perceived as being the embodiment of love and light through sound. I've always tried to be extremely responsible when teaching information and techniques about the power of sound. This was no exception.
I began to slowly share my discovery with several people, including my wife, Andi, and a few extremely attuned sound-healing students of mine. Their impression of the Divine Name was similar to what mine had initially been-that it was the most powerful sound for attuning with the Divine that they'd ever experienced. We all agreed that at the time it was too powerful to share.
I immediately committed to secrecy anyone with whom I shared this. While the sounding of the Divine Name was relatively easy and simple to teach, I declined to do so. It wasn't yet time. I didn't know exactly when that "time" would be, but I was sure I would know when it arrived.
The Gregg Braden Connection
Years passed without further revelation of the Divine Name to others. Then in 2004, I attended a weekend presentation by Gregg Braden. Gregg and I had met several years before through a mutual friend, James Twyman. I'd always appreciated the information and clarity of thought in Gregg's writings. In addition, after our initial meeting, we kept communicating and developed a deep resonance between us. We began a friendship that grew, and continues to grow, to this day.
Gregg had come to Denver to give a presentation based upon his latest book, The God Code. He invited Andi and me to be his guests at this program. The weekend began with a Friday-night multimedia lecture, and by the end, I was astounded by the material that had been covered. I turned to Andi and said, "I can't believe this-Gregg is teaching a form of Kabbalah to the public. This is remarkable!"
Kabbalah is Judeo-Christian mysticism. It is defined as a body of mystical teachings of rabbinical origin, often based on an esoteric interpretation of the Hebrew Scriptures. The tradition of Kabbalah is claimed to have been handed down orally from Abraham, the patriarch not only of Judaism, but of Christianity and Islam as well. Thus, these three religions, whose followers account for more than half the world's population, are known as the Abrahamic traditions.
Kabbalah literally means "to receive," for that is how most of the mystics got their information-through receipt of Divine messages during meditation, in prayer, or while reading the Holy Scriptures. It's one of the most powerful spiritual approaches I've encountered. At the center of much of Kabbalah is the use of the Divine Name-the Tetragrammaton-as a vehicle to receive Divine inspiration during meditation and prayer.
The Divine Name and DNA
Gregg Braden's presentation focused on the Tetragrammaton and the discoveries he'd made about how this name could be changed and transduced through mathematics, chemistry, and other sciences to deliver a special message. This message, found within our DNA, was a brief sequence that translates in English as the words God/Eternal within the body. It was powerful information that stressed the universality of the Tetragrammaton. This universality was also part of my understanding of it. From my discovery, I knew that there was something quite powerful that could be added to illustrate this work. The missing piece was the sound.
If [TEXT NOT REPRODUCIBLE IN ASCII], as Gregg had discovered, was encoded in our DNA as the message "God/ Eternal within the body," then experiencing the sound of this name would be an even greater dynamic power for anyone who heard it. I knew that sound affected our DNA, and I believed that listening to the Divine Name could further amplify and enhance the activation of [TEXT NOT REPRODUCIBLE IN ASCII] into it.
When the workshop concluded on Sunday, Gregg, Andi, and I went out to dinner. It was there that I suggested an idea to Gregg. I began by telling him about my discovery many years before that the Divine Name was in reality a sequence of vowel sounds. I told him that while I needed to meditate on it, I might be willing to make a recording of this sound for him to use during his presentations so that the audience could actually experience and feel the power of the Divine Name. Gregg agreed.
My First Recording
Gathering all my creative and intuitive abilities, I began recording the sound of the Divine Name. I had no idea how it would be received. In this most sacred of recordings, I was extremely reverent as I sounded the personal name of the Divine, so that all who heard it would experience its magnificence.
The end result was quite profound. I felt that somehow I'd done justice to my desire to create something that would honor the power of the Divine Name. The sound was both sacred and beautiful. I was satisfied that I'd manifested an adequate creation of the Tetragrammaton as I believed it should be sounded.
I played the recording for Gregg, who was quite moved by it. He thought that, indeed, by listening to the recording, his audience would be aided in experiencing the Divine, and it would add to their understanding of it. We agreed, however, that he would share this recording only during his presentations, and it wasn't to be reproduced. Gregg told me that when he played it in his workshops, he would request that all recording equipment be turned off by all participants.
When Gregg and I next spoke after one of his workshops, he excitedly related that there had been an overwhelmingly positive response from his audience upon hearing the recording. It seemed to spark something powerful and sacred in them. Some reported spiritual experiences. Others described healings. The responses all seemed most encouraging. I was delighted.
Then came the requests by participants for copies of the actual recording, but as we had agreed, the Divine Name wasn't to be reproduced. While it was being played, all recording equipment was turned off. Or so we thought.
Someone at one of Gregg's presentations hadn't honored the request to turn off their recording device. It could have been a pocket recorder that simply kept recording when the Divine Name played. It didn't matter. The end result was that a poor-fidelity version began appearing on the Internet; a low-quality mono recording had manifested. There was only one thing to do-rather than have this inferior representation of the Divine Name circulate on the Web, it was imperative to release a high-quality version as a CD.
The Divine Name: Sounds of the God Code
I went into my recording studio to begin experimentation, and created the CD The Divine Name: Sounds of the God Code. Several weeks later, in addition to the initial five-minute recording I'd made for Gregg's workshops, I created an hour-long musical composition that encompassed the Divine Name within a flowing bed of chanting voices. The result was quite enthralling.
Gregg and I worked together on the comprehensive liner notes of The Divine Name CD, and it was then released through Hay House. The reception to this recording was excellent, and reports from listeners about the extraordinary effects of The Divine Name continue to this day.
The release of, and response to, the CD gave me the impetus to go where I hadn't gone before-contemplating actually teaching how to sound the Divine Name in a workshop. Could I safely, respectfully, and effectively share the information and techniques of this process publicly to an audience? It was something I'd put off for more than a decade. Was it now time to act?
I'd found Gregg's teachings on the Tetragrammaton and the material in The God Code to be extraordinary, and I decided that an audience who had received these teachings from him would be the perfect group with whom to share my information. I offered this as a suggestion to Gregg, and he felt it appropriate to have me present a workshop on the day following the conclusion of his presentation.
Teaching the Divine Name
Thus began a small series of workshops called "Sounding the Divine Name," which I taught on the Sunday after Gregg's Friday-evening and Saturday presentation. Much of the material is the basis for this book. Many people at these workshops have told me that my teachings were life changing-safe yet profound. I was quite happy and content with this-that is, until my inner guidance pushed my very resistant self toward taking the discovery a step further by writing a book that would not only impart an understanding of, but also the ability to sound, the Divine Name.
Those who may know of my past interests, activities, and accomplishments in the arena of sound healing are aware that for many years I've been dedicated to reawakening the power of sound and music for healing and transformation. I've focused on this power for personal healing, and within the last half dozen years I've expanded this focus to include planetary healing and transformation. Teaching the Divine Name seemed to be a natural progression of my work. What better way to assist in the healing and evolution of this planet than to utilize the most sacred and powerful sound I'd ever encountered?
It is my belief that through sound, coupled with conscious intent, we can heal not only ourselves but the planet as well. Thus, I've been heavily involved with global sound-healing events, including World Sound Healing Day, in which people all over the world "sound" together, projecting the energy of peace and compassion over the earth. I termed this process of creating peace and harmony on the planet Global Harmonization. I also developed the Temple of Sacred Sound, the world's first interactive Website where people can go to tone for planetary peace and healing 24/7. (I'll offer more information about this later.)
For several years, I continued contemplating a revelation of the uses of the Divine Name for personal and planetary healing, especially because as time has gone by, it has become more and more apparent to me that there are some very powerful changes occurring on this planet. As an example, people started to become aware of a date-2012-which had been found in many different prophecies and traditions, including the Mayan calendar. This was said to be a crucial time of great global shift and change.
If listening to the sound of the Divine Name helped encode the awareness of "God/Eternal within the body," learning to vocalize this name with our own voice could potentially activate and align our DNA to higher levels of evolutionary development. Perhaps for those who were truly able to resonate with the energy of the Divine Name, such sounding could even offer greater abilities and consciousness, enhancing personal and planetary peace and harmony.
Excerpted from The Divine Name by Jonathan Goldman Copyright © 2010 by Jonathan Goldman. Excerpted by permission.
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