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Introducing Dr. William R. Schroeder, DO, MCDB.
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began a journey early in my life, only to return much later when I was looking for a new direction in music. When I found meditation, I found my inner peace. This lead me to a music I never expected and yet I had heard it before. While my first experiences were remembered through the innocence of my inner child, this level of receiving turned out to be a big part of the music, as did Mother Nature and the profound human-awareness of Stillness. Music became Meditation, Meditation became Inner peace, and Inner peace became a powerful and natural self healing for Mind and body. In next weeks follow-up, I will elaborate on how the healing works. Or, you can buy the ebook here or Paperback & hardcover here
There are many different systems and modalities of natural healing using sound frequencies and resonances. On that note I would like to introduce you to Dr. William R. Schroeder, DO, MCDB. Dr Schroeder has a site here on substack at; https://drwilliamrschroeder.substack.com/ and I highly recommend his work in EnergyMedicine, QuantumPhysics, Healing and Biofield Coherence . . .
"I am Dr. William R. Schroeder, DO, MCDB—a board-certified internal medicine specialist (retired) with 37 years of clinical experience, a molecular biologist, a University of Arizona-trained integrative medicine specialist, a medical Qigong practitioner, and a stand-up comic.
Over the last 25 years, while practicing standard Western medicine, I have witnessed amazing healings based upon what is best described as field coherence—an inherent property of the human being.
You are a healer. You are a quantum, non-local person who can heal yourself and those around you through simple understandings and realizations at the nexus between ancient spiritual healing traditions and the new science of quantum non-local physics.
This is real. How do I know? I have witnessed it in clinical practice. We constantly affect each other through field communications that are non-local and surprisingly powerful. It is time to step into the power determined by both modern science and ancient knowledge.
To explore the clinical mechanics of how this coherence actually works, read the foundational text here: https://drwilliamrschroeder.substack.com/
As a child, I would sometimes hear beautiful music while wandering through the Botanical Gardens. Years later, during meditation, those memories would unexpectedly return. Not every time, but often enough that I came to recognise them as meaningful. In those quiet moments, I would again feel the same peace and innocence I had known as a child. It felt as though the music had always existed within Nature itself, waiting patiently to be rediscovered.
Meditation helped me reconnect with that childlike awareness. To truly remember those experiences, I had to let go of the assumptions and conclusions I had gathered as an adult. Through meditation, I realised how deeply the Inner-child continues to influence our adult lives. The music I had once heard in childhood seemed to revisit me at different stages throughout my journey in Rock’n’Roll, always appearing when I was open enough to receive something new.
Not long after I began meditating, I became inspired to create music specifically for meditation. I imagined music so peaceful that simply sitting within its vibration would become a healing and deeply relaxing experience. Although it was very different from Rock music, there was still a connection between the two. Both had the ability to influence human consciousness and uplift the psyche. The difference was that meditation music guided people inward, toward stillness and peace.
At the time, meditation music was still a relatively unexplored genre, which gave me a sense of freedom in creating it. I had been meditating for around six months when new recording equipment arrived at my home studio. Until then, I had only been experimenting with small musical ideas on a keyboard. Suddenly, with multi-track technology and sound modules at my disposal, I could begin fully developing the music I had been hearing during meditation.
My meditations became journeys back into the atmosphere of my childhood experiences. I could hear the music clearly, almost as if it already existed somewhere beyond me. The challenge was learning how to transfer those sounds from a meditative state into an actual performance before the inspiration faded. Often, by the time I surfaced from meditation and tried to play the melodies, some of the feeling had already disappeared.
I had been meditating in front of my keyboard, beside a peaceful garden at our home in Parnell. The garden itself felt magical — filled with trees, flowers, birds and butterflies, hidden away in the middle of Auckland. On this particular day, as my meditation came to an end, I opened my eyes and noticed an extraordinary stillness. The garden appeared completely motionless, suspended in silence.
Without thinking too much, I began to play the keyboard while remaining deeply connected to the calmness of the meditation. Something unusual happened. The stillness remained fully present as the music flowed through me. I was no longer trying to perform or compose. The music simply emerged naturally, as though it already existed and I was allowing it to pass through.
When the piece ended, I replayed the recording and immediately felt the same profound stillness return. I realised then that the true power of meditation music was not only in the sounds themselves, but in the relationship between sound and silence. Stillness was not merely the absence of movement, just as silence was not merely the absence of sound. They worked together as one experience.
This insight transformed my creative process. Instead of fully returning to ordinary consciousness before recording, I learned to remain partially within the meditative state while performing. It felt like existing between two worlds at once — awake, yet deeply inward. In doing so, I could preserve the original inspiration directly into the music itself.
Creating meditation music soon became an exploration of stillness through sound. The spaces between the notes became just as important as the notes themselves. Slow tempos, gentle melodies, and carefully placed harmonies allowed the music to breathe naturally. Rather than demanding attention, the music created an environment where the listener could relax deeply into themselves.
Unlike the energy of Rock music, which often reflected emotional intensity and external stimulation, meditation music came from a much more peaceful place. The inspiration was calming, healing and restorative. It felt good to create music that encouraged harmony rather than tension.
As I continued composing, I began recognising the qualities meditation music required. Tempo was extremely important. I found myself naturally writing around 50 to 60 beats per minute — much slower than popular music. The rhythm itself was usually hidden beneath the music, because any obvious beat could distract a meditator and pull them out of their relaxed state. Instead, the music needed to flow gently and continuously.
The timbre, or tone, of the sounds also mattered greatly. Soft piano textures, warm ambient tones and subtle atmospheric effects all helped create a soothing environment. Using modern synthesisers and recording technology, I could shape sounds to reflect the peaceful feeling I experienced in meditation.
Over time, I also noticed that meditation itself followed a natural structure. A person begins in a normal waking state, gradually relaxes into deeper levels of consciousness, remains there for a period of time, and then slowly returns to wakefulness. I designed my music to support this journey.
The opening section of a meditation composition would gently guide the listener into relaxation. The middle section became softer, more spacious and less structured, allowing the meditator to drift into deeper stillness where awareness of time often faded away. Finally, the closing section slowly reintroduced form and movement, helping the listener return peacefully to waking consciousness.
My understanding of meditation was also influenced by the science of brainwave states. As people relax, their brain activity naturally slows from alert Beta states into Alpha and Theta states associated with calmness, creativity and deep meditation. At the deepest levels, meditators may even enter Delta states connected with profound peace, healing and regeneration. I designed the music intuitively around this natural progression.
Although I understood some of the science behind meditation and sound, I never wanted theory to dominate the creative process. Ultimately, music speaks most powerfully through intuition and feeling. People do not connect with healing music intellectually — they connect with it emotionally and spiritually.
Once I understood the importance of meditative stillness, I completed my first compositions, Butterfly and Meditation for Transformation. Together they became my first meditation album.
The music was shared through meditation and personal growth groups in Auckland, where many people listened, meditated, and offered feedback. In many ways, the project felt collaborative. It seemed supported not only by those around me, but also by something beyond ordinary understanding — an unseen presence guiding the music into existence.
Looking back, I feel deeply grateful for those beginnings. Meditation taught me that peace is not something we create externally, but something we rediscover within ourselves. The music simply became a pathway back to that stillness.
Thank you for reading and for sharing …
May your peace be within
Much love
Jeffree et al.
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