How to Clear and Program Crystals
Returning crystals to their natural frequency
Crystals are most effective when they are vibrating at their natural frequency. Over time, exposure to different energies may shift them away from this natural state. This means that every so often, your crystals will need to be cleared or reset. There are several methods by which this can be done, and you will learn over time which method is most effective for you and your crystals.
Using sound to clear your crystals
Some energies may cause your crystals to go out of tune with the Earth, hindering their ability to take in energy from the Earth’s electromagnetic field. Sound is a physical energy that has the ability to move matter, which makes it a very effective tool for clearing crystals. When using sound to clear your crystals, there is no need to worry about the frequency as the amplitude is most important.
Bathe your crystals in one of these sounds:
- Singing bowl
- Gong
- Vocal toning
- Bells
- Tuning fork
- Drums
Exposing your crystals to high amplitude sounds for a few minutes will tune them to the Earth’s electromagnetic field. You can perform this method on all of your crystals at one time.
Building a relationship with your crystals
The molecular structure of crystals makes them powerful conduits of energy. As they form deep within the Earth’s crust, they absorb lessons from the Earth mother which prepare them to aid in healing, protection, and manifestation. If you’re new to working with crystals, it’s important to remember that they should not be treated just as tools, but as powerful co-creators. Building a relationship with your crystals is essential to their effectiveness and the first part of that relationship is proper care.
About the Author
Healing Frequencies of the Ancient Solfeggio Scale
Early in the 11th century, an Italian Benedictine monk, Guido of Arezzo, was looking for ways to teach melodies and harmonies to monastic choirs. One of his methods was a mnemonic tool, called the “Guidonian Hand.” Notes were associated with places on the fingers and palm. Once mastered, a choirmaster could point to his hand to inform singers of the next note. This was a new way to teach music — but Brother Guido continued to innovate.
Finding a way to express a musical scale, he created staff notations to teach chants and hymns. Guido’s original notations were “UT RE MI FA SOL LA,” derived from the first syllable of each half-line of the ancient “Hymn to Saint John the Baptist,” descended from an even more ancient work by Horace, an 8th century BC Roman poet.
This scale of six notes (C, D, E, F, G, A), the ancestor of our “so re mi fa so la ti do,“ evolved into the modern diatonic scale after “UT” became “DO” in the 19th century, and “TI” (B) was added later. “Solfeggio” is based on the word “solfège,” the name for this notation method of teaching pitch and sight singing.
