“A psychedelic experience is a journey to new realms of consciousness. The scope and content of the experience is limitless, but its characteristic features are the transcendence of verbal concepts, of spacetime dimensions, and of the ego or identity. Such experiences of enlarged consciousness can occur in a variety of ways: sensory deprivation, yoga exercises, disciplined meditation, religious or aesthetic ecstasies, or spontaneously. Most recently they have become available to anyone through the ingestion of psychedelic drugs such as LSD, psilocybin, mescaline, DMT etc. Of course, the drug does not produce the transcendent experience. It merely acts as a chemical key — it opens the mind, frees the nervous system of its ordinary patterns and structures.” – The Psychedelic Experience
This is an extension to my earlier post Psychedelic Mushrooms and You, which covered the process of finding, identifying, drying, and storing magic mushrooms found in the wild. That guide was written with the intention of making psychedelics more readily available to those seeking it with the hope that the information might open doors for those who were wanting to explore different planes of consciousness and not just get high for kicks. It also served the purpose of helping others become more capable in avoiding poisonous lookalikes, thus avoiding potential unnecessary deaths. Psychedelics can be a real game changer as far as your life is concerned; they can be fun, exciting, playful, weird, tense, frightening, expanding, contracting and everything else on the spectrum. At times taking psychedelics can be like putting your mind under under a microscope, or plugging it into an amplifier – it can and probably will confront you with yourself, and this can either enlighten or frighten the shit out of you depending on your level of preparation. It is for this reason that it is important to treat psychedelics with a great deal of respect, and one way of doing this is to mentally prepare yourself for the experience before you have it.
Note: a lot of the photos in this post were taken on an amazing mushroom trip I had in the spring of 2012, whilst road ‘tripping’ with two close friends through the great alpine road in a rented winnebago, which we affectionately named the ‘dojo’.
Page 1 – Planning a session (the page you’re reading).
Page 2 – Choosing a psychedelic that’s right for you.
This post will be dealing with a more science oriented approach to psychology known as cognitive neuroscience, which is a branch of psychology that involves intensive study of the brain as well as behaviour. The human brain is a lot more than a mass of grey goop; it is an extremely complicated organ consisting of a team of 50 billion neurons (each of which link up to 10,000 more neurons!) that work around the clock to control every thought, action, and perception we have. Your brain is responsible for literally everything you think and know about yourself and the world you live in, and is therefore the holy grail of psychology, as everything that is knowable has it’s roots in the brain. Even though we all have a brain, we are not born with an instruction manual on how to use it, or how it works. So we spend the rest of our lives letting it work on autopilot, outside our conscious control – do we control the brain, or does the brain control us?
DISCLAIMER – This guide is in no way meant to advocate the use of illegal drugs; it exists solely to spread an important pocket of knowledge that might have the potential to save lives, or at the very least, trips to the hospital. There is currently too high a risk for the uninformed novice to mistake a poisonous mushroom for a psychoactive one, and so it is my hope that this article helps illuminate the otherwise dark and mysterious pursuit of magic mushroom identification.
DISCLAIMER #2 – I do not have magic mushrooms (or any other illegal substances) in my possession. I destroy all evidence of this rewarding (but sadly illegal) hobby by means of digestion. Every year in Victoria, Australia, between the cold months of April to August, magic happens. This magic reveals itself in the form of psychoactive mushrooms. They grow wildly in parks, playgrounds, creeks, forests, nature strips and garden beds They thrive pretty much anywhere with wood chips, tanbark, or mulch that gets a lot of rain and shade. Of course, there are lots of poisonous doppelgängers out there, so it pays to have a bit of experience in identifying the right ones. This ‘experience’ is something we have acquired over the past five or six years of picking and eating magic mushrooms, and so this guide is written with the hope of sharing that knowledge with others. Why buy a man a fish when you can give him a fishing rod, right? This guide will attempt to explain how to find magic mushrooms on your own (or with friends), and outline some good methods of drying and storing them.
Page 1 – How to identify Psilocybe subaeruginosa mushrooms (this page).
Bebop scales are certainly very valuable scales to add to your repertoire, especially if jazz is your bag. If you already know how to play the major scale and all of it’s modes, then you will find playing bebop scales a breeze. The reason being, these scales are essentially the same as the major scale’s modes, with the addition of an extra passing note in each of them. There are also bebop scales derived from the modes of the melodic minor, and the modes of the harmonic minor scale (guide on those coming soon!), but for the purpose of this guide I will only be dealing with the three most used bebop scales, and all three originate from the major scale.
Above is a terrific example of the dominant bebop scale (key of Bb) being played. Wes Montgomery is on fire as always, listen and take note! The bebop scales are frequently used in jazz, and deservedly got their name from their extensive use in the Bebop era (1940s-60s) by such jazz musicians as Charlie Christian, Wes Montgomery, Charlie Parker and Dizzie Gillespie, to name a few. Each scale presented is based on a mode of the major scale, with the addition of an extra passing note which gives it it’s characteristic chromatic run – you always hear the jazz giants flowing through their scales like this.
The bebop scale’s intention was to open up the major scale and give it more of a jazz flavour, and also to introduce a new ‘technique’ for playing over chord changes. Thanks to the added passing tone, if you begin the scale on the root chord tone (1) of the chord playing, and on the downbeat, all other chord tones (3, 5, 7) will also fall on downbeats, while the remaining tones in the scale will occur on the upbeat. This, of course, is assuming the scale is played either ascending or descending, without skipping an interval. These sort of scale runs, peppered occasionally with sequencing, are very common techniques in the world of jazz, as they colour the chords which are being played. Another advantage of the bebop scales is the additional note allows more soloing opportunities, which make it playable over more chords, thus eliminating the need to change scales as frequently as you would with the original major scale modes.
I’m not sure why I took so long to write a guide on the major scale, considering it’s easily the most important bit of music theory that you can learn, and knowing it is essential in order to learn other scales and chord theory. I even wrote my guide on modes of the major scale first! But don’t fret, it’s finally here – a guide to the major scale, the mother of all scales. It’s the scale which all other scales are compared to, and from where chords and their progressions derive from; it literally gives birth to music theory. The major scale is the first of the diatonic scales, which is just a fancy word for a seven-note octave repeating scale, which consists of five whole steps and two half steps between each octave. Don’t understand any of that? Don’t worry, you will very soon. Continue reading →
This post we’re going to be discussing three minor scales: the Natural Minor scale (Aeolian mode), the Harmonic Minor Scale, and the Melodic Minor Scale.
As you probably know already from my guide on the Modes of the Major Scale, the 6th mode of the major scale is always the natural minor scale, or the Aeolian mode. In the Key of C major, the Aeolian mode is A minor; therefore A minor is the relative minor of C major: every major chord has a relative minor. When you play an A Aeolian as part of the C major scale then they both share the same notes; for example, the pattern for the major scale is: (W = whole step – 2 frets), H = half step – 1 fret)
W – W – H – W – W – W – H
1 2 3 4 5 6 7
Which in C would = C D E F G A B(then back to C again, but at a higher octave.)