Here is a list of other chakra music. For example, in the new age, ambient, visionary music field of today, a number of fine works have been created.

Topping the list is Chakra Gold by Aetherium, who are Kevin Kendle and Chris Puleston.

The Song of the Tree by Lis Addison (5th chakra only in this video)

Light Music by Richard Shulman

Music for a Busy Head by Absolute Ambient/Matt Coldrick

Chakra Healing by Dean Evenson and Soundings of the Planet

Chakra Journeys by Seckund Naychur

The Seven Stages of Alchemical Transformation by Seth Osborn

Fresh Aire II by Mannheim Steamroller features a suite of 7 "doors"

Chakra Suite by Steven Halpern      Chakra Chimes

Chakra Chants I and II and Chakra Dance by Jonathon Goldman      2nd chakra 4th chakra

Chakra Healing Zone by David and Steve Gordon

Chakra Healing Chants by Sophia

Kundalini Rising by Phillip Kanakis

The 10 Minute Chakra by Akshara Weave

Rhythms of the Chakras. Volume 2 by Glen Velez

I will mention others here as I find or remember them. Lots of chakra music exists. Try using a search engine or you tube search if you want to see more examples.

Bach's toccata is more energetic than some of today's more-meditative new age chakra music. Toccata in F is more like the venerable Hindu tradition of the chakra dance. It is energetic music that raises kundalini through our "energy centers." Here are some of the many videos on you tube of the more energetic kind of chakra music (with some sensual dancing too!).

Dance the Chakras
Ana Brett - Kundalini Yoga Dance Cardio Blast
Kundalini Belly Dance Tribe
Awakening the Kundalini Serpent
Innerverse - Awakening The Serpent
Swami Ji Jaisiya's fire chakra dance (3rd chakra) Notice how the theme of this excellent music resembles Bach's 3rd chakra theme.
Powerful Tantra music by David Parsons
Devi Dhyani performing a Sacred Shamanic Chakra Dance to Pink Floyd's Set the Controls for the Heart of the Sun

Liner notes

"On taking a closer look at the toccata (originally from "toccare", meaning to touch or to play on a keyboard as opposed to "cantare", and "suonare"), it is almost certain that Bach contributed in large measure to giving it its modern aspect, that of a brilliant piece characterized by an implacable rhythm.... With the "Dorian" Toccata in D minor (BWV 538) and the Toccata in F major (BWV 540), Bach left a definitive imprint on the toccata. We have seen that they are characterized by an uninterrupted movement, an impetus engendered by a motif which is less of a theme than an impulsion which, by its very structure, invites development. Bach is the unrivalled master of this type of musical dialectic. If the "Dorian" Toccata already achieves formal perfection, the Toccata in F major, by virtue of its proportions and, perhaps, even of its spirit, might be compared to the most impressive achievements in Gothic architecture. And one is tempted to analyse it in architectural terms. (See cathedrals here) Because, after the double portico of flamboyant arabesques alternating between the manuals and the pedal, the ribs of a vaulting of ogival tracery are evoked by the powerful scaffolding of broken arpeggios, conceived as a great succession of modulations which lead successively to the neighbouring keys of D, A and G minor (three landings in which the initial motif re-appears, treated as a trio), before returning to the dominant on which the work culminates before coming to an end..... the Fugue in F major... is... a double fugue the last part of which super-imposes contrasting elements. The purity and richness of its composition and the flawless perfection of its tonal structure place this fugue assuredly among the finest Bach ever wrote." -- Lionel Rogg

"With its 438 bars, the Toccata is really one of the most gigantic and one of the most wonderfully balanced structures to be found in Bach's work. In a mood of Easter rejoicing, a luminous canon in two parts is presented over a great pedal point spanning fifty-four bars. Linked to this is a majestic solo for the pedals of daring virtuosity. These two elements return in the course of a counter-exposition in the dominant key; then a cadential formula with chromatic chords, whose role as an architectural breathing-space is shown to be important by what follows, leads to the vast central section. This alternates a new fiery and flamboyant theme with three periods of equal length that bring back the initial theme successively in D minor, A minor and G minor. During the whole of this middle section, the colouring becomes darker, and the anxious modulation, sometimes very daring, contrasting with the radiant tonal security of the opening, give it the character of a kind of great development. The piece ends with a shortened and varied recapitulation of the first section but its tormented harmonies, recalling those of the middle section, elevate its role to the level of synthesis crowning the whole, a role enhanced by its brevity. The two themes of this Toccata are undoubtedly related. Shortly before the end we hear the famous second chord on C minor, which drew from Mendelssohn the exclamation: << When the modulation at the end happens it seems as if the church will collapse: Bach was really a terrible cantor! >>. The richness of the rhythmic and harmonic invention, as well as the supreme perfection of the proportions prevent any feeling of boredom when hearing this colossal fresco." -- Harry Halbreich

Hermann Keller expresses his rapture as follows: "At the beginning the extensive linear construction of the two voices in canon, the proud calmness of the solos in the pedal, the piercing chord strokes, the fiery upswing of the second subject, the bold modulatory shifts, the inwardness of the three minor movements, the splendour of the end with the famous third inversion of the seventh chord, who would not be enthralled by that?"

From You Tube, I saw this comment on Zappacosta's page: "The piece reminds me of a rivulet moving from an obscure region of the mountains back to the sea, much like our soul's excursion from an obscure terrestrial setting on this small planet--universally speaking--back to the (our) source, heavenly abode, God family, etc."- hilljhyt

Most recommended recordings

Finding the 1970 Lionel Rogg definitive version of the Toccata in F and other Bach organ works on CDs issued on the Harmonia Mundi label seems to be getting harder; though now you can hear it on You Tube. On the Answers.com page it is listed as Bach: L'Oeuv're d'Orgue, but copies might not be available for sale. If it costs about $70, make sure you get all 12 discs. If you see the dark-colored cover with the angel, that's the one. Meanwhile, if the 1968 Michel Chapuis version is available anywhere (volume 6 of his recording of Bach organ works, L'ouvre d'Orgue), grab it. His performance on the sparkling Schnitger organ at Zwolle Holland brings out the feeling and significance of the solar plexus and heart sections very effectively. Rogg and Chapuis both play it in a smooth, graceful and flowing style, unlike the performances by Biggs and many others which are too staccato.

Go to Amazon.com and type "Toccata in F Bach 540" in the search box and many fine available recordings will come up which you can sample or buy. They have a new recording by Michael Murray at Zwolle on Telarc. He's good, so it might be worth it. Try typing in Lionel Rogg or Michel Chapuis too in case there are some copies available.

Some releases available in 2009

Michael Murray, Bach at Zwolle (Telarc)
Robert Kobler, Bach: Organ Works / Köbler, Eger, Albrecht, Otto, Et Al: 15 CDs, 189 works (Berlin Classics 184172)
Agnes Luchterhandt, Scene Bach, Byrd, Weckmann, Et Al / Luchterhandt, Janssen (MD&G (Dabringhaus & Grimm))
Douglas Major, Masterworks By Bach (Gothic Records)
Johannes Strobl, Scheidemann, BÖHM: Christ Lag In Todesbanden; Bach, Buxtehude, Etc (Audite 92560)
James Hammann (Toccata in F) Guilmant In America (Raven Recordings (Classical) 330)
Helmut Walcha, Bach: Great Organ Works (Deutsche Grammophon)
Karl Richter, Bach: Organ Works (Deutsche Grammophon)
Hans-Jurgen Ander-Donath, Orgelkonzert in der Dresdner Frauenkirche [ORIGINAL RECORDING REISSUED] (Berlin Classics)
Marcus St. Julien, Romantics & Classics (Raven)

Some of the recordings recommended by listeners and released before July 2007 are listed here.

Other aspects of the "4-fold world and center" with tables

The seasons are related to the cycle of signs and kundalini presented above, symbolized by the caduceus. This is the same movement from dark and cold up to light and hot represented by the ladder of planets where we climb from dark, cold Saturn up to the hot, bright Sun. The season of Spring here represents the "liberating" phase, in which life is liberated from the dark and cold, while Autumn in the "manifesting" phase; even though it might also seem as if in Springtime things are "manifesting." This is another example of how symbols can sometimes switch around in their meaning. Spring therefore in the first table below will be correlated to the yin (liberating) water element, which is also related to the Direction West. It might seem as if Spring, when the light is increasing, is analagous to sunrise in the East; but since the Sun appears to move through the Houses in a reverse direction each day from its movement through the zodiac and the seasons, things are reversed; so that in the northern hemisphere the 10th sign Capricorn (Winter, when things are darkest), is equivalent to the 10th house (Noon, when the light is bright). This paradox can represent the ultimate connection between the spiritual and the material, the inward Sun of enlightenment and the outer world represented by Saturn.

The four humors, and the four temperaments related to them, certainly correspond to the elements-- but these also correspond to the chakras, as we saw in the earlier table of exalted planets and chakras; thus to the male ascending line-- and to the toccata and tarot journey. This is also the chakra backbone and the central column on the Tree of Life; and the color spectrum rather than the color wheel.

Sanguine, the most happy temperament, is linked traditionally to blood and to air. We see that the 5th chakra (adaptation, purification and expression) is air, and that the virtue card "Temperance" is located there too, which means "proper mix of temperament." Seen this way, the 4 temperaments are arranged in ascending order, as we move up the chakras and (we hope) our mood improves (this also resembles other ascending patterns, like the Maslow hierarchy of needs, the scientology tone scale, the Hawkins power scale, developmental scales, etc.). Thus the choleric temperament, linked to yellow bile and fire and considered vindictive and angry, is found at the 3rd chakra of will. In its refined form it is the virtue Strength. The phlegmatic temperament, linked to phlegm and water and considered sluggish, is found at the 2nd chakra of pleasure (The Lovers). In its refined form it is sensuous Love. The melancholic temperament, linked to black bile and earth and considered sad, is found at the 1st chakra of survival. In its refined form it is Faith (The Fool), survival and initiative. Faith is the "root virtue" in that it allows us to move forward and live (survive). Its opposites are fear and despair (melancholy). And of course the value of money (merchants, bourgeoisie), so necesssary to survival, depends on faith and confidence. Sometimes the 1st chakra is considered to be the seat of inherited beliefs too.

The central 4th chakra, and the highest 7th chakra, are related to the spirit element, which takes our temperament beyond the physical humors to the spiritual virtues (Justice and Wisdom/World respectively), carried by the "humor" of consciousness that suffuses our bodies. Hope is related to the 6th chakra of vision (corresponding to The Star card, ruled by Aquarius-- sign of hope), and can be grouped with Temperance, blood and sanguine at the 5th chakra. Thus we see the place of all 7 virtues; the 4 Platonic or cardinal virtues (Temperance, Strength, Wisdom and Justice) and the 3 Christian virtues (Faith, Hope and Love). In our spiritual journey, we convert our inherited physical "temperament" into the corresponding spiritual "virtue."

With these considerations, and others, we can also place these aspects of the four-fold world in an extended table. Here "swords," which is usually interpreted as "sorrow," is in the same position as sanguine, which means cheerfulness. But I think "sorrow" may be too negative an interpretation of the swords suit. If we think of the meaning of swords as contemplation, investigation and thought, and read the cards that way, we can see how "swords" and "sanguine" both relate to the air element; even though our runaway thoughts often bring worry and anxiety too. The Temperance card, located in the 5th chakra, carries these meanings. Also notice that Strength (choleric) is related to intuition, and this makes sense when intuition is interpreted as knowledge of enduring, eternal truths and values (often taught by priests), which bring strength through stability and endurance.

Since "cold and dark" represents the base chakra and Winter in our kundalini scheme, and the base chakra represents the earth element, I associate cold with earth. Cold also represents matter in its slowest and most solid (earthy) state. Its opposite hot is equivalent to fire. Water and wet are equivalent, while its opposites are air and dry. Fire and water are sometimes called "the parent elements," and we notice that fire is hot, but also dry (thus giving birth to air), and water is wet, but also cold (giving birth to earth). Fire cannot be wet or cold, and water cannot be dry, but air (the element of communication) and to a lesser extent earth can contain all the other conditions. The 5th element spirit represents the condition of matter as alive and conscious-- in living things for sure, and perhaps in all things too. The Chinese represented this 5th element as "wood," but did not include "air" ("metal" being the equivalent).

Unfortunately, Placing the weather conditions (cold, hot, dry, wet) in this table does not match the seasons, since the element of the fixed sign of each season, determines where I place the related weather condition. Since cold is earth, that means here it must be correlated to the Spring sign, the earth-sign Taurus. Though we can try to coordinate them, the 12 signs do not match the four seasons, four elements and four weather conditions, because there are three different signs in each season.

I include other planetary correlations here which were too complicated and confusing to include in the table on the main page, since the same planets can be placed in different columns depending on the context. So here is the extended four-fold quincunx table; still in toccata order:

Imperial Tarot cards #1-5	Emperor	Pope/High Priest	Magician	Empress	Papess/High Priestess
Bach Toccata in F portion	first canon pt.1	first canon pt.2	first pedal solo	second canon pt.1	second canon pt.2
Element/weather	air/dry	fire/hot	spirit/alive	earth/cold	water/wet
Season	Winter	Summer	the poles/equator	Spring	Autumn
Fixed Sign/Creature	Aquarius/Man	Leo/Lion	World Soul/Sophia	Taurus/Bull	Scorpio/Eagle
Temperament/fluid	sanguine/blood	choleric/yellow bile	wise/consciousness	melancholic/black bile	phlegmatic/phlegm
Virtue	Temperance/Hope	Strength	Justice/Wisdom	Faith	Love
Tarot Suit	swords	wands	trumps	coins	cups
Function	thinking	intuition	individuation	sensation	feeling
Philosophy	rationalism	essentialism	spiritualism	empiricism	existentialism
Social Class	nobles	priesthood	seekers	bourgeoisie	proletariat
Outer Planet	Saturn	Jupiter	Pluto	Uranus	Neptune
Government	aristocracy (Federalist/Tory)	theocracy (Christian parties)	ecological (Green Party)	republican (Republican)	socialism (Democratic/Labour)
Planets/sephiroth	Mercury/glory	Mars/severity	Sun/beauty	Venus/victory	Jupiter/mercy

The seasons relate to cyclic movement, while the four quadrants and directions are static spaces. In the former, fire and air are opposites; in the latter (as in table here), fire and earth are opposites. In some other schemes, fire and water are opposites. In these schemes, as in the chakras, the air element is highest.

Cyclic Table

In the table below, then, I place the seasons in cyclic order and show some resulting correlations. Since there is so much difference in weather between the early and late parts of a season, there aren't really just 4 seasons, but 12 (the signs of the zodiac); this may be why correlating the seasons is more problematic.

In the Generations Theory put forward by Strauss and Howe, 21-year "generations" move in a 4-fold cycle called "turnings," which symbolically are the 4 seasons of life. But I have noticed that these generational "seasons" (the 4 turnings) really correspond to day and night instead. Whereas during the seasons the Sun travels through the zodiac of signs, in this daily cycle, the Sun travels through the astrological houses, which are correlated in reverse order to the signs. For example, a day starts at Midnight, which is the 4th house, corresponding to Cancer. Just past midnight it moves into the 3rd house, which corresponds to Gemini (backward through the signs). Just before sunrise is the first house, corresponding to the first sign Aries. But as the Sun rises over the horizon it enters the 12th house, which corresponds to Pisces (backward from Aries); and so on. The four cardinal points, midnight (4th house/Cancer/water), sunrise (first house/Aries/fire), noon (10th house/Capricorn/earth), and sunset (7th house/Libra/air), correspond in that order to the 4 turnings, and to the generation in young adulthood at each turning. I have placed my correlations for the seasons, generations and turnings in the cyclic table below.

Season	Spring	Summer	Autumn	Winter
Fixed Zodiac Sign	Taurus/Bull	Leo/Lion	Scorpio/Eagle	Aquarius/Man
cardinal point	Noon/Capricorn	Sunrise/Aries	Midnight/Cancer	Sunset/Libra
Turning/Generation	3.nomad (X)	2.prophet (Boomer)	1.artist (Silent)	4.civic (Greatest/Y-Millennial)
Element	earth	fire	water	air
Suit	coins	wands	cups	swords
Function	sensation	intuition	feeling	thinking
Philosophy	empiricism	essentialism	existentialism	rationalism
Class	merchant	priest	peasant	noble
Temperament/Virtue	melancholic/Faith	choleric/Strength	phlegmatic/Love	sanguine/Temperance
Jungian Type	ST	NF	SF	NT
Imperial tarot card	Empress	High Priest	High Priestess	Emperor
Tetragrammaton	2nd Heh	Yod	1st Heh	Vav
Toccata World chord	final tonic chord	1st note or chord: a major 3rd	1st tonic chord	7th chord

The philosophy wheel order doesn't fit as well here in the cyclic table, as it does in the static non-cyclic tables. This is because on the wheel, yang is always placed on the east (fire/essentialism and air/rationalism are yang) and yin on the west (water/existentialism and earth/empiricism are yin). In a cyclic order, yang and yin alternate; switching back and forth like the caduceus. For example, on the philosophy wheel, reason, which corresponds to air, is placed at the east. But here, air corresponds to sunset (Libra), at which time the Sun is in the west. On the philosophy wheel, the two upper quadrant philosophies (existentialism and essentialism), and their meanings, switch places from where they are here on the cyclic wheel. In other words, the philosophies from right to left across the table do not follow their order on the wheel, but shift back and forth between opposites: empiricism to essentialism, its opposite; then existentialism to rationalism.

Here in this cyclic table above, perhaps the old meaning of swords (air) as "sorrow" fits after all, and sanguine means learning to be cheerful in spite of the cold and "sorrowful" conditions of Winter. The civic generations exhibit just such traits, according to Strauss and Howe, authors of Generations theory, even though they come of age in a Great Crisis (a "winter").

Mathematical patterns in the Toccata in F, S.540

The famous fibonacci series of "divine proportion" is a ratio between numbers or lines. The ratio of two numbers or line segments, where one (call it A) is about 1.6 times longer than the other (B), is the same ratio as that between the longer line, and both lines together. This is expressed as A is to B, as A+B is to A. This ratio creates a spiral that goes on forever, as illustrated by the famous image of rectangles within rectangles in which a spiral is drawn. See Robert Place's web page on Leonardo da Vinci for details and illustrations.

Besides what I reported above, I studied the number of bars (measures) in each chakra section of Bach's Toccata in F, S. 540. Each chakra section is marked off in my sheetmusic edition by the editor, Marcel Dupre. Since the Toccata is in 3/8 time, that means it has 3 eighth-notes per measure; in fact, usually 6 sixteenth notes. One note to add, is that Lionel Rogg in his 1970 performance at Arlesheim only plays 82 bars of chakra 2, dropping 4 bars from the 2nd pedal solo. So does Walcha on You Tube. This is probably because, like other 18th century and earlier organs, it does not have the high pedal keys required to play those four measures.

As I mentioned above, each section of the Toccata is linked to a chakra, and each has a "liberating" portion representing the upward-flowing current around each chakra, and a "manifesting" portion representing the downward-flowing current. Here are the number of bars in each section, with the proportions between their 2 portions (remember the divine proportion or PHI is 1.6180339...):

chakra section	bars	lib.portion	manif.portion	lib/manif.	total/lib.	total plus lib. section	divided by total =
(1)	82	54	28	1.92857	1.518	136	1.6585
(2)	86	54	32	1.6875	1.592	140	1.6279
(3)	69	49 (incl. "chariot")	21	2.2857	1.4375	117	1.6956
(4)	52	32	20	1.6	1.625	84	1.6154
(5)	62	41	21	1.95238	1.512	103	1.661
(6-7)	87	42 (ch.6, incl."Sun")	45(ch.7)	.9333	2.0714	129	1.4827

As you can see, in chakra 4 (the heart), the proportions comparing the 2 sections (liberating and manifesting) almost match the divine proportion, and they also come close to doing so in chakra 2.

All 6 liberating portions together add up to 271 bars, and all 6 manifesting portions add up to 167 bars. 271 divided by 167 = 1.6227. Looking from end to end instead of side to side, we can compare the first three sections, plus the first half of the 4th (heart), to the second half of the 4th, plus 5th, 6th and 7th. We get a similar proportion. From the base to the middle of the heart is 269 bars, and from the middle of the heart to the crown is 169 bars. 269 divided by 169 = 1.5917.

If instead of composing 52 bars in chakra 4, consisting of 32 plus 20 bars, Bach had composed 55 bars consisting of 34 plus 21, the numbers would have matched the Fibonacci sequence and the divine proportion exactly. Also, in chakra 2, if instead of 86 bars consisting of 54+32, he had composed 89 bars consisting of 55 plus 34, that also would have matched the divine proportion. One wonders if he thought about this. I surmise that the canons have to be an even number of bars, if one hand is to imitate the other, just two bars afterward. So, 54 bars instead of 55.

Some other patterns are apparent. If we divide the Toccata into the 3 parts that correspond to the 3 parts of the soul, and the 3 parts of the Tarot journey according to Robert Place, the "chariot" section introducing the third chakra is then subtracted from that chakra, and added to the 2nd and 1st to represent the "lower soul." Also, the "devil" section (the manifesting portion of chakra 5) is subtracted from the chakra 5 section and added to the last 2 sections, together representing the higher part of the soul.

The proportions between the three parts of the soul are thus: (lower part)=175 bars, (middle part)=155 bars, and (higher part)=108 bars. Total bars in the Toccata is 438.

Notice that the higher spiritual part of the soul has 108 bars. This is a very sacred number in itself, which is linked to the great year and other astronomical phenomena. Notice also in the table above, that the first two liberating sections (the two snake-like, double-helix canons) each have 54 bars. 54 x 2 = 108. As above, so below.

Interestingly, the number 54 x 10 = 540-- the very number Schmeider chose for this Toccata in his catalogue of Bach Works, known as the BWV. Quite a coincidence. Of course, 108 x 5 also = 540.

When 175 (# bars in lower soul portion) is divided by 108 (# bars in higher soul portion) the proportion is 1.62, close to the divine proportion of 1.618.

As I mentioned, the central bar of the Toccata comes during the great chords of the Wheel of Fortune section, in the middle of the 3rd chakra section (bar 219), representing the navel or solar plexus. Bar 271 of the Toccata, closest to the golden ratio of 1.618 when compared to all 438 bars, comes during the poignant introduction to The Hanged Man section, the very center of the Heart or 4th chakra. The 3rd chakra is the center of our will, and the 4th chakra is the "golden" center of our soul.

Looking the other way, reversing the direction of the divine proportion, the second pedal solo ends at bar 168, leaving 270 bars for the rest of the toccata. So the fiery, "piercing" entry of the chariot theme (transition to 3rd chakra) comes at the divine proportion point, looking at the toccata backward (or downward). You can watch the status bar on You Tube performances to graphically see the divine proportion at these points of the piece.

Robert M. Place shows Leonardo Da Vinci's Vitruvian Man and its relationship to The Tarot. Leonardo places the Man inside an overlapping square and circle. The square represents our physical nature (the 4 minor suits), and the circle our spiritual journey (the trumps). The center of the square is located at the 1st or 2nd chakra, the groin. When focused on sexuality, we are centered on the physical. But when we look at the divine proportion point on the central up/down axis (along the backbone and between the legs) of the man inside the square, it is located at the 3rd chakra (navel, or solar plexus). This is also the central point of the circle. Place points out all this and more. I go on to observe that, at the divine proportion point on the axis within the circle (including the portion of the circle that rises above his head), is the Man's heart. This of course matches Bach's Toccata in F; which thereby describes The Man within the spiritual circle (or his spiritual journey), with his 3rd chakra at the center of the circle, and his heart at the golden proportion point on the up and down axis of the circle.

There may be other mathematical patterns to notice in the Toccata, which I will report here if I find them.