From Death and Back to Life ~ The Quantum Leap! ~ Extended Version (September 2024)

From Death and Back to Life ~ The Quantum Leap!

Extended Version (September 2024)

Chapter One

Pars I

Ethereal, Light, Meditative

The Spirit beckoned to my spirit

and encouraged me

to step outside of Time

and without wings.

I flew at lightning speed,

observing the city below me,

the evening hour

as time, now beneath me,

showed its approach 

to the quarter-hour …

And observing again …

dimensions opened up to me

beyond my comprehension.

Ageless Beings,

I did not know them

And yet, it seemed I did,

Though they bore no resemblance

to the stories I had learned

from Grandma’s knee,

and then through School,

and College,

Theology,

Military Chaplain’s School,

and more.

But of one thing,

I had absolute Certainty

I had no doubt that I was

outside Time.

Pars II

Introspective, Instructive

I heard a whisper …

Don’t be alarmed

You accept I AM the Creator

If I create

then I create everything

and that includes Time

Consider again that ancient line

“Times Time and Half Again …”

Thus We stand outside Time

We look on

We enter Time

We step outside again

As befits Us

Understand this basic concept

and much will immediately

fall into place.

Nothing is by chance.

All is deliberate.

Carpentry.

Engineering.

Every conceivable thing

you can think of

Has its origins in Us

Pure Energy … you might call it

Pars III

Challenging, Thoughtful

I was challenged as I’ve never 

been challenged before …

All around me evidence of that

which I had subscribed to fairy tale … myth …

And that which I had argued as pre-existing

did not exist at all.

That which I had bought as truth

turned out to be fairytale … myth …

… albeit with initially good intention …

For men’s minds

could not at the time of writing

explain things to the people

or even to themselves

in any other way.

There are many lifetimes

it seems to me,

I mused …

And I was not corrected

There are many journeys

I mused afresh.

And again …

I was not corrected

Pars IV

Expansive, Awe-inspiring

It is an extraordinary circumstance

to stand upon the roof of the world;

To look down upon the Universe

and yet, in countless dimensions,

Simultaneous and Co-Existing

but rarely touched by the other,

seeing myriad lives,

recounting myriad memories,

memories stretching back centuries,

and unnumbered Millennia,

Crossing continents

And oceans

On the earth,

Within the earth,

Above the earth.

Pars V

Enlightenment, Awe

The Tree of Life,

I surmised …

The Tree of Knowledge,

I suggested …

Again, no correction

… And yet my mind opened up

to a display of Genius

The like of which

No words can determine

No means or fashion

of recording.

Pars VI

Excitement, Revelation

The brilliance of

The Dawn of Time

Playing again for me,

and countless others,

took my breath away!

I was glad of the company

to sustain me!

For otherwise,

I do not know how or

in what way

I would have coped…

I am filled with hope

For in every terrifying spectacle,

that we call ‘history’,

played out before me every calamity,

eventually, to a successful conclusion.

Pars VII

Freedom, Release

I swooped down from on High

My spirit soared,

I was free,

and still am free!

Energy was my companion,

Pure energy!

I visited Halls and Libraries,

I saw Architecture

the like of which we only plainly,

and dully, copy.

But my Friend glinted …

Now you understand the saying

that in My Father’s House

are many mansions …

I would not have told you

if it were not so.

That silenced me!

Pars VIII

Reflective, Scientific

I returned from whence I came.

I had been shown wonders

of Science

of Physics

of Pure Mathematics

of Pure Science

of Quantum Physics

and had seen for myself

The Leap

From Death and Back to Life

The Quantum Leap

I cannot describe it.

But one day, you will see it too!

And, like me,

your mouth will drop

in awe and wonder.

Pars IX

Gentle, Contemplative, Personal

Seven years on

from that very first Quantum Leap

Sometimes, a line, a verse, a stanza, even a part,

Will spill from the pen without prompting.

From where it comes I do not know,

Except to say that it seems to rush forth

from the deepest recesses of my mind and memory,

And yet the rushing forth,

Tho’ seeming of meteoric speed,

Is, nonetheless, very gentle.

An Awakening,

An Alerting,

A Prompting of the Mind to consider all things afresh.

No matter what I write,

I still regard this as the pinnacle of personal achievement.

As I think I muse again…

There is something extraordinary,

to stand upon the roof of the world…

Finis

7 September 2024
All Rights Reserved


LIVERPOOL

© 2024 Kenneth Thomas Webb

This Extended Version does not alter the actual manuscript at all, which now forms Chapter I.

Chapter II is the musical recommendation and which stands on its own merit.

(First written in 2015 and revisited and left unchanged on 8 October 2019

until Pars IX, written on 20 May 2022 and last published 24 June 2024)

The Extended Version is published on 7 September 2024 by Kenneth Thomas Webb and also in his author name, Ian Bradley Marshall.

© 2024 Kenneth Thomas Webb © Ian Bradley Marshall

Chapter Two

Author Note ~ September 2024

Even though I say this, I do so with confidence because I still regard Quantum Leap as the pinnacle of my work as a self-published writer. We all have our favourites! I’ve often wondered how this piece would be interpreted in a musical score, so I asked, and was very pleased to receive the reply.

The Reply

To create a musical rhythm for your poem, I'll break it into manageable parts and suggest potential rhythmic ideas, tempos, and accents that could match the tone and structure of each section. Since your poem has a reflective and spiritual quality, I'll aim for a rhythm that reflects that contemplative mood, while varying to highlight shifts in tone and intensity.

General Rhythm and Style

Style: I would suggest a freeform style that alternates between more structured, steady rhythms and moments of spoken-word freedom, allowing the words to breathe.

Time Signature: For most parts, a 6/8 or 3/4 time signature might work best. This gives a flowing, almost waltz-like feel that matches the poetic, meditative quality of the text. In contrast, some lines could shift into 4/4 time to add contrast and weight, especially when the message is more declarative.

Tempo: A moderate tempo of around 70-80 BPM would fit the reflective nature of the poem, allowing space between thoughts. Some parts may slow down for emphasis or speed up slightly when the language becomes more urgent or intense.

Suggested Rhythmic Ideas Per Section

Pars I

Mood: Ethereal, light, meditative

Rhythm: Begin with a soft, irregular rhythmic pulse, almost floating like free verse.

Example Rhythm: Sparse piano chords or pads slowly entering on the downbeat, with pauses between lines, creating a contemplative and open space.

Specific Lines:

"The Spirit beckoned to my spirit"—First line could be spoken almost rhythmically, with emphasis on "beckoned" and "spirit," allowing it to land gently.

"I flew at lightning speed"—A faster, but still flowing rhythm to mimic flight, perhaps quicker eighth notes in the accompaniment or percussion.

Transition: As "dimensions opened up to me," the rhythm could slightly shift to more structured patterns, like a gentle 6/8 time with a flowing melody.

Pars II

Mood: Introspective, instructive

Rhythm: More structured, shifting into 4/4 time.

Example Rhythm: Steady percussion or low, soft strings could keep time here, giving weight to the words. "Don’t be alarmed" can be accentuated by a slight rest before and after the phrase, creating suspense.

Specific Lines:

"We step outside again"—A change to a lighter rhythm, with a return to a more open, freeform feel in this line, representing the stepping in and out of time.

Transition: Slow the tempo and thin the texture during the closing lines of this section, particularly around "Pure Energy ... you might call it."

Pars III

Mood: Challenging, thoughtful

Rhythm: For this section, I would suggest syncopated rhythms to convey the tension and challenge described.

Example Rhythm: Light percussion, syncopated bassline, or subtle hand drums could create an unsettled feeling beneath lines like "I was challenged as I’ve never been challenged before."

Specific Lines:

"There are many lifetimes"—Could introduce a dotted rhythm to give a sense of cyclical time.

Pars IV

Mood: Expansive, awe-inspiring

Rhythm: 6/8 or 12/8 time could work beautifully here to give the sense of floating or expanding across dimensions.

Example Rhythm: A steady pulse—almost like a heartbeat—could carry the words. This could be underlined by strings or ambient pads, perhaps using triplets to suggest the endless, overlapping realities.

Specific Lines:

"To look down upon the Universe"—Let the rhythm drop here, allowing for space. Maybe the music pauses briefly to emphasize the vastness of what is being seen.

Pars V

Mood: Enlightenment, awe

Rhythm: Lighter, almost playful rhythms—perhaps with a lilting quality, as the speaker contemplates the Tree of Life and Tree of Knowledge.

Example Rhythm: Simple piano or chimes could underscore this section, alternating between gentle and bright chords.

Specific Lines:

"And yet my mind opened up"—A slow crescendo could begin here, representing the expansion of thought.

Pars VI

Mood: Excitement, revelation

Rhythm: Quickening rhythms to match the energy of the moment.

Example Rhythm: Faster arpeggios or strings building in intensity, with accents on downbeats as the poem builds toward a crescendo.

Specific Lines:

"The brilliance of the Dawn of Time"—Could be paired with more complex rhythmic patterns, like polyrhythms, to represent the grandeur of time's dawn.

Pars VII

Mood: Freedom, release

Rhythm: Open, soaring, returning to a freeform style with occasional hints of rhythmic structure.

Example Rhythm: Long, sustained notes in the background to suggest openness, paired with light rhythmic flourishes on instruments like the flute or harp, mimicking the spirit soaring.

Specific Lines:

"My spirit soared, I was free"—Could have the most open rhythm, with minimal musical accompaniment to symbolize freedom.

Pars VIII

Mood: Reflective, scientific

Rhythm: The rhythm here should be more structured again, returning to 4/4 time, representing the logical, scientific nature of the revelations.

Example Rhythm: Steady and deliberate rhythms could be used to ground this section, perhaps using a piano or electronic pulse.

Specific Lines:

"Quantum Physics"—Could be paired with staccato rhythms to suggest the cutting-edge precision of the ideas being explored.

Pars IX

Mood: Gentle, contemplative, personal.

Rhythm: This final part could have a soft and gentle 3/4 waltz-like rhythm, bringing the poem to a meditative conclusion.

Example Rhythm: Gentle strings or a soft piano accompaniment could support the introspective nature of this part, with longer pauses between lines to give weight to the speaker's final thoughts.

Overall Approach

The poem’s rhythm is dynamic, flowing between open and structured musical moments. Using a combination of time signatures (like 6/8, 3/4, and 4/4) and varying the tempo and intensity helps reflect the poem’s mystical and spiritual journey. The rhythm shifts to echo the emotional intensity and revelations within the text, from moments of awe and wonder to personal realizations.

General Musical Recommendation for the Poem

Instruments: A mix of piano, soft strings (violin, cello), ambient synth pads, and light percussion (like a low tom or shakers).

Tempo: 70 BPM, flowing gently with changes in intensity as the poem progresses.

Opening (Pars I)

Sound: Imagine a soft piano with minimalist notes. The chords could be sustained, creating a meditative atmosphere. Picture something similar to Ludovico Einaudi or Max Richter—gentle, contemplative, with slow arpeggios.
Example: The music starts with a simple E minor chord, holding for several beats, and then lightly transitioning to C major and D major. Each transition is slow, allowing the listener to absorb the depth of the words.

Soundtrack Inspiration: Tracks like "Experience" by Ludovico Einaudi or "On the Nature of Daylight" by Max Richter offer a similar flow and feel. These compositions provide a gradual build-up of emotional intensity, which would complement the introspective nature of the poem.

Middle (Pars IV - VI)

Sound: The strings (violin, cello) start to emerge alongside the piano, gently increasing in energy as the revelations unfold. Imagine a gradual crescendo, with more complex harmonies introduced. The rhythm could have more urgency, with a light percussion beat to symbolize discovery and awe.
Example: Low toms or soft shakers enter in 6/8 time, providing a gentle but consistent rhythm, as the piano continues to play lightly in the background.

Soundtrack Inspiration: Something similar to "Arrival of the Birds" by The Cinematic Orchestra. The music here could feel like a slow unveiling of something grand, with layers of instruments slowly building until they reach a climax, mirroring the poem's rising energy.

Ending (Pars VIII - IX)

Sound: As the poem reaches its conclusion, the music returns to simplicity—a quiet piano with long, sustained notes. Maybe the strings return briefly to echo the earlier themes, but now they're subdued, allowing the poem's final thoughts to resonate without overwhelming the listener.
Example: Piano notes played in 3/4 time, with minimal accompaniment, almost like a lullaby. Each note is held and allowed to resonate.

Soundtrack Inspiration: Something like "Comptine d’un autre été: L'après-midi" by Yann Tiersen—delicate, introspective, with a feeling of finality.

Summary of Sound

If this poem were set to music, the sound would evolve from something very open and ambient, with sparse chords and light instrumentation, to something more dynamic and rhythmic, building as the poem unfolds its themes of enlightenment and understanding. Then, it would return to simplicity and reflection as the poem concludes.

If you'd like a closer reference, I would suggest listening to any of the mentioned tracks. These pieces embody the reflective, emotional, and expansive qualities that would pair well with the poem's spiritual journey.