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Greetings Friend, You Are Welcome Here
We are in an age when the two-legged ones are finally waking up
to the impact of their choices on the environment. Thanks to global
events such as the Earth Summit at Rio de Janeiro in 1992, and
films such as An Inconveniant Truth, the evidence of how human
beings are changing their natural world is becoming indisputable.
I
encourage and support all forms of conservation actions. From recycling
pop bottles to political activism, and everything in
between, we all have a role to play. All those behaviors come from
a place of Head; of mental understanding, and are important. The
purpose of this website, however, is to encourage connection and
caring for the Earth from a place of Heart. My goal is to teach
others to show the Earth the depths of their heart-felt love and
appreciation. Even though love is intangible, it is the source
of all healing.
I have been doing shamanic work, privately, in my
own small way, since 2000. Trees have been my teachers. They have
taught me how
to sing to them, how to hear their songs, how to listen to their
stories and bring healing and requests to them. These love-filled
forms of communication are healing for them. In June of 2007, while
on my annual vision quest, I was told by the trees that it’s
time to bring these teachings to the world.
They love being sung to, they love being listened to and they
would like for many, many others to bring them healing in these
ways. If you are one of those who resonates with this call, then
this website is for you.
The basic tools and techniques I suggest
are absolutely free. This is my gift to the healing of the planet.
Please feel free to learn
from them and share them as much as you wish. There are other
items and tools available for sale as well; but these are NOT essential
to the basic teachings. They are there for those who wish to
pursue
certain aspects of the work more in-depth.
To watch Denise's interview with Norm Lebus of City TV, click here.
Connecting with Trees and Other Nature Beings
Be forewarned:
Things will change for you once you can communicate with trees
and other nature beings. You will “wake up” to a feeling of
deep connection with all of Creation. This process of waking is one
that occurs both physically and emotionally. Your experiences in nature
will be richer, more textured and vivid. As long as there are trees
nearby, you will never be alone. You may receive teachings and guidance
from your new friends that will take you to places you never dreamed
of.
Your relationship with yourself is likely to change. You may crave
silence and solitude more. You may develop a thirst for all things
Spirit. Your tolerance for loud noise and crowds of people may go down.
You may not recognize yourself in quite the same way.
The Effect of Song on the Plant World
In the 1970 movie “On a Clear Day You Can See Forever”,
Barbra Streisand hit the big screen as Daisy Gamble, a chain-smoking,
nervous young woman who sang to her plants and made everything
bloom and grow. For over 30 years the idea that singing to one’s
plants is good for them has been simmering away in our collective
consciousness. Many scientific experiments have been conducted
that support that idea.
We have learned that houseplants love music and singing and dislike
shouting or violence.
I would like to take this idea just one step further….outdoors.
Trees also love being sung to. And, since they are rooted in the earth,
it is easier for them to share the healing of the songs they receive
over a greater area. Sound travels well through air, and better through
water, but it travels best through solid material. So, by singing to
trees with loving intention, we are able to send healing not only to
the area surrounding the trees, but also to the Earth.
Creating a Healing Intention
The most important part of communicating with the plant world is in
knowing what your intention is. It cannot be for the purpose of manipulating
or tricking the trees you wish to connect to. It must come from a place
of respect, humility and love. Trees are good-natured, service-minded
beings, and they will teach us and help us when they can, but they
will shut down if they suspect deception or ill-intent.
What is an Appropriate Intention?
I find it helpful to always remember that trees and other plants,
animals, water, rock, and air all came from the Creator. They are truly
my brothers and sisters, grandparents, cousins and every type of relation.
The first part of communicating with plants is to see past the illusion
of separation and to honour the connection that already exists between
us. I do not create the connection, I simply acknowledge it gratefully.
Before I ask the trees for anything, whether a song or a teaching,
I take the time to express my love and gratitude to them. I thank them
for their beauty and strength; for the shade they provide, or fruit,
or flowers, for stabilizing the earth they stand in with the power
of their roots and for any other personal reason I may have, whether
for an individual or group of trees. This appreciation can be expressed
out loud through words, or in the quiet of one’s heart and mind.
I usually sing to the trees, because I know they love receiving the
vibration of song. There are two “all-purpose” gratitude/acknowledgement
songs I use regularly. I am not suggesting these songs are the only
ones possible or worthwhile; they just work well for me. I would suggest
that you feel free in finding your own honouring song to open communication,
but I also recognize that you may feel more comfortable in the beginning
to have some clear examples.
Whether I sing or speak or think my gratitude I place myself in direct
contact with the tree, if at all possible. Oh yes! I am a tree-hugger!
I usually place my hands on the tree and often lean my forehead against
it. When a speak aloud, or sing quietly, my mouth is very, very close
to the tree.
Here are the two songs I use:
Now I Walk in Beauty
(traditional song, source unknown)
Click
here to listen to a sample (1.6 MB).
Lyrics:
Now I walk in beauty,
Beauty is before me,
Beauty is behind me,
Above and below me.
I usually sing this song at least three times for the vibration
of it to sink in.
Spirit and Life
(written by Denise Gagné Williamson)
Click
here to listen to a sample (1.1 MB).
You are free to use this song for your own personal tree singing
work, but should anyone decide to record it or perform it publicly,
you must seek my permission and credit me accordingly.
You are not background
Spirit and Life
You are my family
Spirit and Life
Brothers and sisters
Spirit and Life
We are connected
Spirit and Life
One in Creator
Spirit and Life
Spirit and Life
Spirit and Life
You hold our stories
Spirit and Life
Roots in the Mother
Spirit and Life
Arms reaching upwards
Spirit and Life
Prayers to the Father
Spirit and Life
Connecting and holding
Spirit and Life
Spirit and Life
Spirit and Life
Greeting and honouring the trees is the first step in communicating
with them. If you stand in silence, remaining in physical contact,
you may begin to sense the energy of the tree, and it may decide to “speak” with
you. Receiving and understanding the tree messages is the next step.
Learning to Listen
I listen to trees with my whole body, not just my ears. I put myself
in a state of being receptive to the vibration of the tree’s
spirit. (This is a similar process to the one I use for hearing
the soul song of a person).
If you have difficulty hearing tree songs or if you don’t feel
comfortable with your own singing voice; here are some simple exercises
you can try to open up your body to listen from the inside out. I believe
these demonstrations and directions are all you require for this work,
but if you’d like to learn more about my products for singing, click here.
A word of caution:
These exercises are simple and non-invasive, and are generally
safe for all ages and body types, but you are the only person who lives
in your body! Use common sense! If you are currently suffering from a
recent whiplash injury or have chronic back problems or if your natural
body structure has been permanently altered by the surgical removal of
muscles or ligaments, or the insertion of metal pins or rods, or through
having your vertebra fused together, then DON’T do the following
exercise. I accept no responsibility whatsoever for the acerbating of
any current health issues. My description of any and all exercises is
offered with years of experience of exploring the body/voice relationship,
but does NOT replace medical cautions you may have already received or
the advice of a qualified health care professional. Please accept responsibility
for this body you live in and treat it gently and with respect.
The Ragdoll
Often, in this society where people spend lots of time sitting in
front of a computer screen, they can develop sore, inflexible necks
and shoulders and stiff backs. Our singing “instruments” (our
bodies) need to be flexible and have a good blood supply in order
to bring out our best possible voices. Here is a well-known vocal
exercise I use with beginning voice students to help them loosen
up.
Our spines are meant to be supple and flexible, like a ragdoll.
Unfortunately, they may sometimes feel and move more like a plastic
action figure.
To play the audio description of this exercise click
here (4 MB).
Stand with your feet apart the same distance as your shoulder width.
Bare feet or simple flat flipflops are best. If you’re reading
from the page, I suggest you take a breath in between each sentence
of the following description to give yourself time to feel the reality
of your body.
Take the time to feel the weight of your body on your feet. Recognize
that the entire weight of your body rests on your feet and ankle
joints. Begin to sense if there’s any amount of movement in
you ankles. Now recognize that your calves rise up from your feet
to the knee and that the knee joint also has the potential of gentle
movement as it constantly balances the weight of your thighs. Remember
that even skyscrapers made of cement and steel are capable of slight
movement at their joints! Allow your consciousness to travel up your
thigh to your pelvis. Be aware that your legs descend from your pelvis
and your torso sits on top of it and within it, there is lots of
give and take within all the various joining pieces there.
Breathe and feel how the joints of your pelvis, your knees and your
ankles respond to your breath.
Scan upwards along your spine to your shoulders and know that your
shoulders hang from your spine; they do not hold your spine up. Your
arms swing ever so slightly from their shoulder sockets in response
to the movement of your breath in and your breath out.
Your neck continues the flow of your spine and stretches gracefully
upwards its full length above your shoulders. Your head sits on top
of your neck. It also moves ever so slightly in response to the movement
of your breath.
Your feet are easily and firmly in contact with the floor and your
head rises up towards the ceiling, and your entire body breathes
and balances in between these two.
Your body is alive with the movement of breath within it.
Now, breathe in, and on the exhale allow your head to fall gently
forward, only as far as it can comfortably go. Breathe in again and
feel how by expanding your lungs to accept the gift of air, your
whole torso and spine lifts slightly. Breathe out and feel how the
deflation of your lungs in connected with a lowering of your entire
torso and spine, which allows your head to fall even further forward
towards the floor.
It’s as though your head is an apple at the end of a branch,
drawing the branch closer to the earth.
Continue the slow, gradual, downward descent of your head, only
as far as it can comfortably go, with each exhalation. If you encounter
points that do not want to allow movement, simple breathe gently
into those points. If they loosen, and allow you, continue the downward
movement until your hands touch the floor. If there is tighten in
your neck or spine that does not want to loosen, respect that and
either stay in that position, breathing gently and being grateful
for your body, or if you’ve had enough, begin your ascent back
up.
When you are ready to return to an upright position, stay in contact
with your breath, but this time place the emphasis on filling your
lungs with air and allowing the natural lift that accompanies the
inhalation to pull your body upwards. On the exhale, stop and rest,
but do not allow your torso to go back down. If at any time you feel
dizzy, simply open your eyes. If the dizziness persists, sit or lie
down. Otherwise, continue to lift your body back upright on each
inhalation as though you were building a tower out of blocks. The
last part to be put in place is your head. When it has returned to
its proper place above the neck, this exercise is complete.
Hearing Your Own Voice
Dr. Alfred Tomatis, one of the world's leading otolaryngologist,
developed a principle, called "The Tomatis Effect", that
states that the voice can only create and duplicate those sounds
which the ear is able to hear. As a music teacher and vocal coach
I have encountered the truth of this many times over. My first job
is always to teach people how to hear.
Let's do a simple exercise that will help with that.
To play the audio description of this exercise click
here (3.3 MB).
When was the last time you took a few moments to really listen to
yourself?
How can one learn to listen to oneself? What does it actually
mean to listen?
First, find a quiet place where you won't be
distracted by other people. Turn off the radio, stereo, television,
or any other source
of external noise.
Think of the last time you called to someone some distance away.
Your voice would have naturally taken on a certain cadence, a certain
sing-song quality, usually two notes, the first higher than the second.
(sol-mi or G-E for those with access to a pitched instrument).
Keep that calling sound in mind, and begin to gently call your own
name.
Try to use an entire exhalation to call your name each time;
stretching out your vowels as much as possible. Explore this a few
times, sometimes a bit quieter, sometimes a bit louder, but never
so loud as to bother your ears.
The next time you call your name, using the gentlest touch possible,
place your fingertips on the front of your neck. Get a sense of where
the vibration of your voice begins. Continue calling your name as
you explore this.
Using the same gentle touch, bring your fingertips to your face.
As you continue calling yourself try to discover where else the vibration
of your voice can be found. Around your mouth? Near your ears? Around
your nose? Behind your ears? It is neither "right" or "wrong" to
sense vibration in any of these areas. These are only suggestions
to guide you.
Now, place a finger INSIDE each ear canal. Once again, begin to
call your own name. How does it sound different from calling with "unplugged" ears?
How is it the same? Can you feel your voice vibrating in any particular
places in your head or face? Still using a complete exhalation to
each call continue to explore this.
The Rollercoaster
The muscles of the throat that support the voice box are largely
responsible for your vocal range (ie: how high and low you can sing)
The more flexible they are, and the better the blood flow, the easier
it will be to extend your range.
This is the simplest way possible to begin to develop your vocal
range. I call it the rollercoaster hum, because the goal is to explore
the highest and lowest notes you’re capable of producing smoothly
and rapidly, like a rollercoaster.
If you wish, you can gently place the fingertips of both hands on
each side of your throat so you can feel the vibration of your voice
as it travels from high to low.
To play the audio sample of this exercise click
here (524 KB).
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