T H E O R Y
	O F T R A N C I T I V I T Y

``**. The 'engaging' aspect of trance inducing rhythms is important. What may be 'engaging' to one person may be repulsive to someone else. Repeating rhythms can be perceived as 'boring' but it is
precisely this 'boring' aspect which is the precursor to trance. If a rhythm is 'engaging' and not boring, then trance is certain to occur. How to make a rhythm engaging is implied by trance theory. One important characteristic of successful trance inducing music is what trance theory would call 'modulating the dissociated trance plane'. The music of shamans and many aboriginal tribes create effective music which modulates the dissociated trance plane by slightly varying the underlying trance generating loop. Several good examples of this can be heard in the CD 'Heart of the Forest' The music of the Baka Forest People of Southeast Cameroon. Several good examples can also be heard in Glen Velez's Assyrian Rose. el-HADRA: the Mystik Dance has some good attempts at creating the dissociated trance plane, but fails to exploit the opportunities to skillfully modulate it.

There are many nature sounds, such as birds, frogs, crickets which fundamentally repeat, but which contain slight variations within each repetition. The fundamental repetition is the trance generating loop (TGL) and the variations in each repetition results in the modulation of the dissociated trance plane. It is for this reason that the
sounds of nature tend to produce trance. The type of variations within the TGL determine to a great degree the effectiveness and depth of the trance. When there is some 'subtilty' or artistry in the creation and modulation of the DTP, then the trance is compelling and there is an increase in the trance force.A loud, heavy beat is not necessary. Loudness or heavyness is not of itself productive of trance.Repetition produces trance. But it will be the type of repetition which is 'engaging' or which produces an involvement with the inner reality. In some trance music - such as goa - there are multiple loops, some of which are subtle. Subtle loops tend to bring the attention to a finer focus. The resulting splitting or dissociation results in trance.But that is not the whole story. What 'subtle' is to one person may be different for another. The effect - which is to say, which cognitive functions are disabled - is
another story. Again, this can vary between persons listening to the same music. Another consideration is the order in which cognitive functions are disabled, and finally, what additional processes are being encouraged when these cognitive functions are disabled. In other words, how is this state of mind being used?Dissonance is also not necessary; although loud heavy beats and dissonance may be interesting from aesthetic points of view, they will not produce trances over which there is much control.Complex rhythms are not necessarily productive of deeper trances. Deeper trances are more easily produced when, after some time of engaging rhythms, there are
increasingly more subtile rhythm or melodic changes, or if rhythm loops become longer and longer. The point is that the rhythms or melodic sequences become more subtile and more engaging. Avoid sharp or unsettling rhythmic or melodic changes as these will most likely terminate the trance by destroying the trance generating loop
resulting in the collapse of the dissociated trance plane. One of the reasons that 'trance music' works to produce trance is that there are long periods of the same loop or loops.

At the point that a deep trance is produced, subliminal messages could be introduced with effectiveness. The content of the suggestions should be carefully crafted to empower. Suggestions will also affect the music producer. Most instances of trance music do not allow sufficient time for deeper trances to develop, as complexities are introduced too quickly. Remember, in shamanistic trances, drumming would go on for days. Subtile changes in the rhythm and melodic structures over time will produce deep trances because it is the 'subtilty' which is engaging.
Commercial trance music should continue for a minimum of 20 minutes to induce deep trance. Perhaps we are all fortunate that such long trance music riffs almostnever happen.

Trance theory mentions secondary trance loops and multiple dissociated trance planes. I can show you how this has a musical equivalent. It is possible to produce schizophrenic-like behavior from music alone. You don't want to do that, right?It is also possible to produce 'addictive trance music'.

Goa, drum & bass, acid trance music are all fascinating examples of trance inducing music. Obviously, some are more successful than others. Some DJs as well seem to
be better at producing trance than others. Again, I can recommend that you apply trance theory to music making in order to create more and deeper trances. It can be
done with music alone.

Trance theory is rich; it is full of important implications. Not only does it explain the trances of the past, it can help us to analyze the trances of the present and design
trances of the future