Cadences & Numbers

michael math


Cadences are configurations of seven souls that, like entities and cadres, stay together for an entire grand cycles. They differ from temporary configurations (usually lasting several lifetimes) such as quadrates, sextants, triads, and so on that are formed, usually during the late baby and early young soul ages, for specific purposes relative to physical-plane tasks. A primary cadence is the smallest grouping of essences within an entity, and each member normally has the same role. There are many other kinds of cadences. We are part of more than one; occasionally, several.

Seven primary cadences join together into a greater cadence. So a greater cadence of servers, for example, consists of seven groups of seven servers, or forty-nine servers. Greater cadences also group together, although there can be any number of them—there doesn’t have to be seven, and there may be just one. Series of greater cadences of various roles make up the entity.

Every essence has a particular numerical position within its entity based on its position within its cadence, its cadence’s position within its greater cadence, and its greater cadence’s position within its series of greater cadences. That is sometimes called its “casting.” Along with our cadre, entity, and role, our casting precisely locates us within the universe, like our personal cellular phone number that travels with us. Theoretically, someone at the other end of the universe could locate a soul knowing that he’s a server on earth in Cadre Twenty-Nine/Entity Four, with 3/2/6 casting. (Rarely, two souls with the same role in the same entity are channeled as having the same casting because there is more than one “pocket” of, say, servers within that entity, and the numbering starts over. Therefore, that theoretical caller from across the universe would need to know the “party’s extension,” or further locating information. This applies only to nonclassic entity structures, discussed shortly.)

Let’s say that a scholar is in the third position of his cadence, and that that cadence is in the seventh position within its greater cadence. Let’s also say that that greater cadence is in the fifth position out of however many greater cadences of scholars there are in that entity. In my system, that would be written as 3/7/5. That could be described as the essence’s casting, or more commonly, it might be said that he has number three casting, because he is in the third position of his cadence. Cadence position, the first number of the three, is the most prominent casting influence. (The next section, “Number Correlations,” will explain how casting influences us.) The following diagram, “3/7/5 Casting,” illustrates this casting, also assuming that this scholar is in an entity that is second within its cadre. Note that the seven pattern applies to the organization of the cadence, greater cadence, and cadre, but not directly to the entity; the entity contains varying numbers of greater cadences of generally two to four roles. (As mentioned, the entities of some cadres, including mine, each contain all seven roles, according to my channeling.) This hypothetical entity contains four roles, and a total of nine hundred thirty-one essences. The diagram’s representation of the entity is a simplification of what can be a rather complex structure. The use of circles throughout the diagram is for convenience, and do not represent literal shapes. The numbering of the seven circles within a larger circle places the numbers resonating with particular roles on the same axis across from each other. For example, one and six are across from one another, and they resonate with the roles of server and priest, the inspiration axis roles. (Four, resonating with the neutral role, scholar, is in the middle.) As the diagram illustrates, each greater cadence consists of essences of only one role.

The second diagram, “Another View of Entity Two,” illustrates the same position in a different way, using squares instead of circles, and placing the positions in numerical order. (It omits the cadre.) The larger squares each represent a greater cadence. The fifth greater cadence of scholars shows its forty-nine essences. The top row is cadence one; its positions one through seven go from left to right. The second row is cadence two, and so on.

I will use myself to give another example of casting. I am in the fifth position of my cadence, in a cadence that is in the fourth position of its greater cadence, in the third greater cadence of sages in my entity. I record that on my chart as 5/4/3. So my casting is 5/4/3, or more commonly, it would simply be said that I have number five casting.

Entities made up of essences who have had a lot of prior experience on other planets during previous grand cycles may develop a taste for the complex, and “classic” patterns may be altered. For example, classically, all the members of one role are grouped together within an entity. In an altered pattern, members of a role may be scattered throughout an entity in “pockets,” even mixing with other roles within a cadence (although this is very rare).

When greater cadences of one role are not all joined together, the third number in someone’s casting (which refers to the position of the greater cadence), although valid, is not as strong. This also makes for a reduced solidarity of that role in the entity, but causes that role’s quality to “break open” and have more impact on the entity as a whole. When an entity consists of more than one role that is not segregated into separate groupings of greater cadences, the entity as a whole is more homogenous, more of “one cloth.”


If the number of essences in an entity is not divisible by seven, there are at least two possible reasons. The first is that some cadences may have gaps, most frequently at the end, to facilitate the entity structure desired by its members. In other words, all seven positions may not be filled. Since “all is choice,” according to Michael, this is plausible, if unusual. (Greater cadences can also have gaps.) The second possible reason is what JP Van Hulle’s channeling called “wild cards,” essences who do not occupy a particular position, and are available to facilitate unusual entity tasks. There can be one to six wild cards in an entity. Wild cards are also unusual.


One might think that the seven casting positions would come up with more or less equal frequency. However, that is not the case in my practice (which is not representative of the world as a whole). Most of my charts are now on a database, so it is easy for me to compute approximately how often each position has come up. Here are the seven positions, from greatest to least frequency of occurrence in my practice, with their percentages (if a position came up one-seventh of the time, that would be about fourteen percent): two—thirty-one percent; three—twenty-five percent; four—twelve percent; one—twelve percent; five—seven percent; six—seven percent; and seven—six percent. This was based on about twenty-seven hundred records.

As you can see, in my practice casting positions two and three have come up significantly more often than the others, at least so far—this could change. Early in my channeling career, the number three came up almost like a broken record. Then it subsided, while two took its place. For a while, four came up a lot, too, but then decreased in frequency, while one, which had been rare, began coming up more often.

Changing patterns such as these are commonplace with my Michael Readings, and in my life in general. As mentioned in the last chapter, things seem to come to me in clusters.


There are complicated vibrational factors, the sum of many different influences, that make certain waves come into one’s life. These waves cannot necessarily be predicted or explained except in generalities.


One of the influences involved in my most often attracting numbers two, three, and four casting positions, in that order, is my own casting: 5/4/3. Two is the opposite of five (together they make seven) and three is the opposite of four.



Each number, one through seven, has particular qualities, with a positive and negative pole. Each role and overleaf corresponds with one of these numbers, and shares its qualities. For instance, we can see on the following chart that the number six has a positive pole of harmony, and that the role of priest is the six-position role; therefore, priest is the harmonizing role. All the cardinal inspiration overleaves (under priest on the Michael chart) are in harmonizing positions; for instance, spiritualist is the harmonizing attitude, and growth is the harmonizing goal. It makes sense to think of the cardinal inspiration axis as harmonizing, just as it makes sense to think of the ordinal action axis (including the role of warrior) as enterprising.

Our casting determines how we tend to direct our role’s energies. A scholar in the sixth position of his cadence would tend to use his scholarly knowledge as a harmonizing influence, and would have a somewhat priestly flavor. He might also study spiritual or religious subjects, since they are of special interest to priests. Having number six casting lets him work in the domain of priests without actually being one or looking and feeling that much like one.

Since five has a positive pole of expansion, a scholar in the fifth position of his cadence would tend to use his knowledge expansively, and would have a somewhat sagely flavor. A magazine writer I know has a writing style and sense of humor that had struck me as sage-like, although he had also seemed to have sifted through and distilled a great deal of raw material, in a scholarly fashion, to come to his conclusions; he turned out to be a fifth-position scholar. He is a scholar who is an especially clear and colorful communicator.

The number three has a positive pole of enterprise and resonates with the role of warrior.A third-position scholar would emphasize knowledge that is productive and would also likely have a lot of initiative—for example, he might be better at starting and running a business than most scholars are. He won’t have much of the feeling of instinctive drive that is the hallmark of warriors, but, like the typical warrior, he can, in his own way, be quite an effective achiever.

When first learning about the roles, it might have appeared that having only one role would be limiting. The influences coming from our casting and essence twin introduce much more complexity into the picture.





One + Purpose - Simplicity Server

Two + Stability - Balance Artisan

Three + Enterprise - Versatility Warrior

Four + Consolidation - Achievement Scholar

Five + Expansion - Adventure Sage

Six + Harmony - Connection Priest

Seven + Inculcation - Eclecticism King






One: Reevaluation Reserve Stoic

Two: Discrimination Caution Skeptic

Three: Submission Perseverance Cynic

Four: Flow Observation Pragmatist

Five: Acceptance Power Idealist

Six: Growth Passion Spiritualist

Seven: Dominance Aggression Realist



One analogy for the influence of the numbers in one’s casting is musical overtones. When a note sounds, a series of higher notes called “overtones” subtly resonates at the same time, “flavoring” it. A clarinet sounds different from a piano because the loudness of each of its overtones in relationship to the note played is different, due to its unique shape and materials. A “C” played on one instrument might have a higher “C” vibrating sympathetically relatively loudly, for example, while on another, “E”s and “G”s might stand out.

Likewise, each essence sounds a “tone” with a unique pattern of sympathetic vibrations. For instance, if the note “C” corresponds with the number one, I, as a sage (which resonates with five), am like a “G” with “G,” “F,” and “E” overtones from my 5/4/3 cadence position, the first being loudest. It could be said that I am in the sage position of a scholar-position cadence in a warrior-position greater cadence, and this “flavors” my sage energy: I am like a G played on a saxophone, whereas another sage might be like a G played on a clarinet.

The first number in the three-number sequence is the strongest or most specific influence, but since I’m already a sage with a sage essence twin, it doesn’t bring any really new qualities to my essence. It could be said that I’m an especially expansive sage. However, sages are already expansive by nature, or at least, adventurous, in the negative pole. Although the second number would normally be a less-important influence, it is the first place in my chart that a new quality comes in, that of scholar. I can validate that I have a subtle flavor of the role of scholar. For example, I have an impulse to organize and conserve information. The third number is the least important or most diffuse influence, but I do have a bit of the warrior‘s efficiency and enterprising quality.

Suppose that someone is a warrior with a server essence twin, and his casting is 7/6/2. The numbers don’t correlate with either the warrior or server energies, and each number is different, so there are five role influences out of a possible seven. In such a case, I wouldn’t place much significance on the third number. If the numbers were 7/6/6, I would interpret the doubling of the six influence as adding a significant priest/harmonizing quality, perhaps equal to the seven king/inculcation quality. If the numbers were 7/7/7, the tripling of the king influence would be very significant—this would be a warrior who directs his power in a way that organizes, sums up, and brings to bear the lessons of whatever is done, probably with an eye to the service of others, since he has a server essence twin.

If the third number is a one—for example, 4/2/1—the second number takes on more importance. Every cadence in a first-position greater cadence (of a particular role in an entity) has a “pure” experience of its order within the greater cadence. Even though that number one still has its resonance with server and a positive pole of purpose, the fact that the greater cadence is first causes it to almost stand alone, without other greater cadences layered in front of it. So, in 4/2/1 casting, that essence and all his cadence mates have a pervasive, “pure” two-ness, or artisan resonance, since the cadence is second within its greater cadence, and the greater cadence itself is first among all the members of that role in that entity—no other greater cadence stands between it and the entity structure as a whole. That particular essence is in the scholar position within the cadence—it consolidates or brings together that two-ness, whereas its “neighbor,” 5/2/1, expands it. The essence with 2/2/1 casting would have almost as strong a two-ness as someone with 2/2/2 casting, although the one influence would give it a slightly “sharper” or more directed (purposeful) quality. The one does have an influence, but its influence is mainly to impart a “stand-alone” quality that brings out the qualities of the number before it (the cadence’s position within its greater cadence.) Servers do this as a role anyway—they stand alone in a certain self-sufficiency, bringing out the qualities of others—so, in a sense, this does not negate the server influence, but the number one brings more of its own flavor when it is the first or second casting number rather than the third (e.g., 1/7/6 or 3/1/2).

The first cadence in the first greater cadence of a role in an entity (positions 4/1/1 or 5/1/1, for example) would have even more of this stand-alone quality. A 6/1/1-position sage would have virtually pure six casting, being the first sage in his entity to have number six casting. However, the number one also has some influence here, especially since it is doubled: this sage would be particularly purposeful in his harmonizing, and would likely work in fields that both priests and servers specialize in, such as the healing arts, using his communication abilities to bring harmony in that realm.

It’s useful to see if these numbers underline other characteristics in a person. For example, let’s look at a warrior with a server essence twin whose cadence numbers are 1/1/1. This person has a very strong server quality. He is another example of someone having an “honorary” role due to the influence of cadence position reinforcing that of essence twin role—this warrior could be said to be an honorary server. Since both warriors and servers tend to be tireless workers, he would likely have this quality. He would tend to be quite purposeful in using his powerful and protective warrior nature for the common good, which is a server emphasis. He might look like a cross between a warrior and a server—possessing both an instinctive drive and a nurturing quality—and at first glance, you might not be able to tell which role he is. An artisan with a server essence twin and 1/1/1 casting would have a very strong impulse to direct his creativity toward the service of others. Unless overleaves and imprinting influence him otherwise, he would probably be a gentle, sweet person. Nonetheless, since both this artisan and the above-mentioned warrior are the first-cast (most cardinal) essence of their role within their entity, they would also be extremely influential, having a kind of leading-edge thrust. Having three ones in a row brings the ultimate of that “stand alone” quality mentioned above, “potentizing” their role energy as well as flavoring it with a serverly thrust.

When there is a definite pattern in casting and essence twin role, there is usually a strong intention behind it. In the examples above, perhaps the sparks wanted to be as close to being a server as possible without actually being one (especially if they already were one during a previous cycle). Or perhaps the warrior‘s spark wanted to experience being a gentle warrior, since servers use the heart chakra a lot. By contrast, a spark might choose to be a warrior with all number five casting and a sage essence twin (honorary sage) to bring his productive energy into expressive endeavors.

The spark makes its choices with the whole grand cycle in mind, and matters of casting and so forth continue to have some relevance to the spark throughout the higher planes.

The number one, the lowest, most ordinal number, is in the most cardinal position of the seven numbers, since it is first. The physical plane is the number one plane; it is the most ordinal plane, yet is in the most cardinal position, in that it is first—it leads the way. This is also illustrated in the number one’s correlation with the most ordinal role, server, and in the Biblical quote I used earlier in my discussion of terminology: “He that is greatest among you shall be your servant.” The role that some misconstrue as the most lowly is in the strongest position numerically, in the sense that the number one position tends to lead the way. And it may well be that servers are, in a sense, the most influential role, in their usually unassuming way. However, every position is strong in its own way; judgments of “strong” and “weak,” and “low” and “high,” do not have validity within the Michael teachings.

Servers’ ordinality is reflected in the fact that, of all the roles, they can “do their thing” anywhere, without special circumstances, whereas kings, the most cardinal of roles, require some kind of “kingdom” in order to carry out their “mandate”—not easy to come by—in order to fully experience their kingliness. Servers can serve under any circumstance; therefore, they manifest their essence the most easily and pass through the soul age levels the most quickly and usually at a younger soul age. The cardinality of their number one position is reflected by the strong quality of purpose (the positive pole of the number one) they can bring to their service. I also find that anyone in a number one cadence position is purposeful, and needs a purpose for anything he does. For instance, he is not likely to watch television unless he can see a purpose in it, such as learning something or gaining needed relaxation.

Kings are in the opposite situation from servers: they are the most cardinal role, and are in the most ordinal numerical position. Opposites have much in common, and, as mentioned, kings and servers have a special affinity for one another. In their own ways, both kings and servers are concerned with service, and also leadership. Kings tend to feel a responsibility to serve their “subjects.” We could say that with kings, service is behind their leadership, and with servers, leadership is behind their service.

In the “Michael-Math” chapter of More Messages from Michael, this was compared to the yin-yang symbol, in which the pattern “doubles back on itself.” In other words, if we go far enough into yin, we come to yang, and yin has yang in its core—and vice versa. So when we take cardinality to its ultimate, we come to ordinality, and vice versa.

The number influences also apply to an entity’s position within its cadre. When there is a dominance of one role in an entity, that role’s energy tends to rub off on those of other roles in the entity. There are a lot of sages in my entity, so its members are known for having a sagely ebullience and expressiveness, even those who are not sages. However, it is in the second (artisan) position, so its sagely boldness is flavored with an artisan-position aesthetic sensibility. George Gershwin and Madonna are examples of famous people channeled as being in my entity who combine these qualities.

The fifth entity in my cadre, having a high artisan population, elegantly reflects the second entity; it is a similar but opposite situation. Artisans in this sage-position entity, such as Walt Disney and Steven Spielberg, are creative with sage-flavored (number five position) expansiveness. So the fifth entity has artisan energy with a sage-position “tilt,” and the second entity has sage energy with an artisan-position tilt.

Number influences are also illustrated by the Michael entity itself. As mentioned, Michael is in the fourth (scholar) position within their cadre. Michael uses their warrior and king energy and efficiency to bring us a system of knowledge (positive pole of scholar).

Negative poles are constrictions that distort a vibration. It is easy to see why tyranny, the negative pole of king, for example, is negative. It is more difficult to understand why the negative poles of the numbers are negative. For instance, the negative pole of the number two is balance. Balance, obviously, is not “bad.” Nonetheless, as it is used relative to the number two vibration in the Michael teachings, it signifies a limited experience of it.

Balance only concerns two elements, or two dimensions. Suppose, for example, that you have a twenty-pound weight in one hand. To balance it, you would put a twenty-pound weight in the other hand. Stability, on the other hand, concerns the whole, or three dimensions. Let’s say that you are on a barge with a four-hundred-pound rock on it, and you don’t want the barge to flip over. The best way to create stability may not be to put another four-hundred-pound rock in the opposite position. Instead, you might achieve stability (although not necessarily balance) by creating an intricate and beautiful asymmetrical pattern of rocks on the barge. So stability is a larger, more expansive experience of the number two than balance.

We are referring to the vibration that the number two resonates with, not necessarily to two objects or two things. Similarly, the number one resonates with a penetrating focus that can be simple in nature, in the negative pole, but also purposeful and direct in the positive pole. It doesn’t necessarily involve one thing.



Michael’s comments above give some insight about how stability and balance relate to artisans. Artisans tend to have an aesthetic sensibility that looks for stability, or at least balance, in their creations. However, it is more than that—it relates to creating something that works.


Stability is not merely an aesthetic issue; it is germane to all creation. It implies that the whole works together—something stable is not expected to fall apart. Artisans, with their five inputs, bring together diverse elements. If these elements are not stabilized, there is no true creation, although there may be artifice, which has its own kind of balance. Stability is the foundation of creation. Artisans can easily become unstable, which undermines their ability to create.




Here, again, are the correlations of the numbers one through seven with the roles, as well as with the planes of creation, as given in the Yarbro books. Also included is the centers that correlates with each plane but not necessarily with the role in the same position. For instance, the number two position role is artisan. The second plane of creation is the astral, which has an emotional quality and correlates with the emotional center. However, the role of artisan correlates with the intellectual center, since both are on the ordinal side of the expression axis.

Incidentally, I earlier mentioned that being in a sixth cadence position connects one with the astral plane, and the seventh position connects one with the causal plane, facilitating channeling. The astral plane is second, not sixth, but the upper astral is “home” to the sixth soul age, transcendental; the sixth position helps one “plug in” to guidance on this level, at the same time giving a messianic (sixth) plane feeling or resonance. It is similar with the seventh position. (Chapter Twenty-Nine covers “Infinite and Transcendental Souls.”)






One Server Physical Physical

Two Artisan Astral Emotional

Three Warrior Causal Intellectual

Four Scholar Akashic Instinctive

Five Sage Mental Higher Intellectual

Six Priest Messianic Higher Emotional

Seven King Buddhaic Moving



In studying the chart above, it might seem more logical if the roles were rearranged to correlate with both the planes and the centers, as in the chart below. That would also make the ordinal and cardinal roles mirror each other. For instance, if the role of warrior were in the number one position rather than server, it would correlate with the physical plane. Then it would mirror the buddhaic plane and the number seven role of king, with which it shares the action axis. It would also correlate with the physical center, which is on the same axis. Following out this reasoning, the number two position would be server, mirroring the number six role of priest. It would line up with the emotional center, which is also on the same axis. The number three role would be artisan, mirroring the number five role of sage. It would line up with the intellectual center, which is likewise on the same axis. (With positions four through seven, the roles, planes, and centers already line up.)







One Warrior Physical Physical

Two Server Astral Emotional

Three Artisan Causal Intellectual

Four Scholar Akashic Instinctive

Five Sage Mental Higher Intellectual

Six Priest Messianic Higher Emotional

Seven King Buddhaic Moving



It would also be easy to make a case for the positive and negative poles of the numbers one to three, as channeled in Yarbro, applying equally well to these alternate assignations of role correlations. Servers tend to be purposeful in their dedication to service, but warriors can also be purposeful in their drive to get a job done—in fact, warriors are known as the most focused of the roles. They are also sometimes simple in their outlook. Artisans seek stability and balance in their aesthetic pursuits, but servers are known for promoting the stability of the family, and their presence has a balancing effect. Warriors are enterprising—they are often excellent in business, for example; they are usually not afraid to take the bull by the horns, and take risks. However, artisans are enterprising, too, in that they start a lot of projects. Enterprise fits with the artisan’s mission to create new and original things. Artisans also tend to be versatile, in that they often know how to do many things.

All these points suggest the possibility that the number correlations in the Yarbro books were inaccurately channeled. Michael student Phil Wittmeyer proposed just that in an unpublished introduction to the Michael teachings; numbers are particularly prone to error in channeling, and he believes that the first three numbers were switched around.

However, as logical as the alternate correlations are, I see other evidence in support of the accuracy of what was initially channeled.

The entire “Michael-math” chapter in More Messages from Michael depends on Michael’s original number assignations to the roles. If there was an error in channeling, it was more than just switching around three numbers. As originally channeled, the roles are numbered in order of most ordinal to most cardinal. That appears to be at least part of the rationale of those number/role correlations. Michael makes much of server being the most ordinal role.

Also, even though the same-axis roles don’t mirror each other numerically, if we add them together on the inspiration and expression axes, they equal seven: one (server) plus six (priest) equals seven; two (artisan) plus five (sage) equals seven. On the action axis, kings already correlate with seven, but three (warrior) plus four (scholar) equals seven, and, as mentioned, warriors and scholars are known for having a special affinity.

I channeled about this issue, and found Michael’s response to be most interesting. As usual when there appear to be discrepancies, there is validity in both points of view.

In one sense, there is symmetry in the reflection of higher and lower planes when correlated with centers and essence roles. In other words, warriors do correlate with the physical plane more than servers do, in the sense that warriors’ energy is kinetic, and so is the physical plane’s. The same is true for the astral plane and servers, and the causal plane and artisans. However, in another way of looking at it, in terms of cardinality and ordinality, the role of server correlates with the physical plane, in that both are the most ordinal of roles and planes.

You might wonder why the correlations are not the same in both the qualities of kinetic/emotional/intellectual, and ordinality to cardinality. The answer has to do with the structure of this universe. Servers need to be the most ordinal, so that the base of universal function be service and inspiration rather than action. The universe would be a different game if warriors were the most ordinal. The lack of symmetry in relationship to numbers and roles vis-‡-vis the axes is deliberate. The fact that each axis occupies a different position in the higher and lower triads ensures that one does not become predominant. If warriors were number one, and kings seven, the action axis would be predominant: first and last are the most powerful positions.

However, beginning the sentient progression with a kinetic plane, the physical, and ending with a kinetic plane, the buddhaic, before rejoining the Tao, makes sense because the first and last planes are closest to the Tao, and pure energy must precede its differentiation into love and truth. Therefore, there is symmetry with the planes.

We caution against looking only for symmetry. The universe must be both symmetrical and asymmetrical in order to grow.


There is symmetry when looking at the planes themselves, and asymmetry when looking at the soul’s experience of the planes. The soul’s experience of the physical plane, for instance, has a number one, serverly cast to it. To advance on the physical plane, the essence must toil with a steadfastness and even endure drudgery that the server essence is best equipped for. Physical-plane experience must have an inspirational resonance for there to be evolution. An action resonance on this action plane would be out of control.

In addition, the number one resonates with the role of server (on all planes) because in the soul’s relationship with other essences, the foundation must be service.



Primary cadences consist of seven essences of the same role within an entity. Another type of cadence within an entity includes more than one role and preferably, each role represented in that entity. A third type spans the cadre, and other than that, it is like the second type; it contains a member of each entity, and preferably, someone of each role.

A fourth type is like a primary cadence in that it consists of only one role, but it spans the cadre, including one representative from each entity where possible. If it is a cadence of sages, for instance, and there are no sages in a particular entity, that entity will usually not be directly represented in the cadence. A sage with an essence twin in that entity might substitute. To illustrate: if the fourth entity of the cadre has no sages, a sage from the sixth entity with an essence twin in the fourth might substitute. In this case, no member of the fourth entity will be directly represented in this cross-cadre cadence, and it will have two members of the sixth entity.


JP Van Hulle has channeled about other types of cadences. One consists of everyone in a greater cadence who is in the same position within his primary cadence; for example, the seven essences in the number one position form a different kind of cadence. The members of such a cadence might have the following casting: 1/1/1, 1/2/1, 1/3/1, 1/4/1, 1/5/1, 1/6/1, and 1/7/1. She also channeled about cadences consisting of the essence in the first position of a greater cadence’s first cadence, the essence in the second position of its second cadence, and so forth, “diagonally” across the greater cadence. The members of such a cadence might have the following casting: 1/1/1, 2/2/1, 3/3/1, 4/4/1, 5/5/1, 6/6/1, 7/7/1. Michael referred to the former as being like major chords in the “music“ of the entity, and the latter as being like minor chords. In addition, they mentioned similar kinds of cadences spanning the cadre.


The purpose of the various “secondary” cadences is to bring together those who share certain mathematical commonalities, to take advantage of the unique configurations they provide. They are like a “branch” of consciousness within the entities and cadres that reflect on experience, like a corner of your mind of which you may not be fully conscious. Cadences do not necessarily convene meetings on the astral or higher planes to do something, although they can; even without such meetings, they still function as units of consciousness. The mathematical resonances are still there.



About Shepherd Hoodwin

Shepherd has been channeling since 1986. He also does intuitive readings, mediumship, past-life regression, healing, counseling, and channeling coaching, where he teaches others to channel. He has conducted workshops on the Michael teachings throughout the United States. His other books include Enlightenment for Nitwits, Loving from Your Soul: Creating Powerful Relationships, Meditations for Self-Discovery, Opening to Healing, Growing Through Joy, Being in the World, and more to come.

Visit his website at


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