Tratamiento

The graphic on the opposite page represents a symbol that you are to create within your mind, a symbol which will allow you to understand and recall these learnings about the different tools and resources that you have at your disposal. Use this page to take additional notes, or copy down specific points, that will help you to remember what you believe are the most important points.

Level 6

Tonality. You've heard about that. You want to write that down. Now look at the hierarchy. Look at the

chart and those tools. Now at the very bottom... OK, 1, 2, 3, 4, 5, 6 . . . there are six rows, and we are talking the very bottom row, and there is locations for four different things that you can write. In one of

those spaces right down "tonality ". That's the tone of voice that you are using. OK? Now, why is it

important, that we have a sense of tonality? And what it is and what it does in how it works?

Well, think about it. You want to communicate in a way that's going to engage somebody's

subconscious mind. Now, if you are sitting here and you are talking like this and talking really fast and

talking about something and has a lot of energy and a lot of tension to it, their subconscious is going to feel energy and feel tension, and it's going to be tense, and it's not going... it's going to be more on guard, and it's not going to be relaxed, and it's not going to be in a mode, where it just is able to listen to what's going on, take it all in, and have it be a part of what its thoughts are as well.

D3-T4 That kind of tonality is conveying a sense of warmth, it's conveying a sense of comfort, it's conveying a sense of self-assurance, lack of tension, lack of nervousness, I feel pretty safe, pretty secure, if I'm able to talk in that sort of fashion. That type of speech delivered with that type of tonality much more easily is listened to, and believed and interpreted by your subconscious, or by a subconscious mind, in a positive way. So "tonality", tone of voice that tends to be pleasing to the subconscious.

D3-T5 The next thing I want to talk about are command words. As you find yourself writing this down and you have placed the pencil... I am being a little mechanical to illustrate a point... but I am sure you have had times when you have listened to the words that somebody is speaking, and you were able to find out for yourself what the command words are.

"Commands". As in "command words" or command phrases, but the word for our definition is "commands".

So in the structure that you have in front of you, again in the lowest row, in one of those four boxes, the

want you to write down the word "commands". As in "embedded commands" where you find yourself

doing something... well, that's a little different, but command is the lowest smallest chunk thing, where you just feel comfortable with something, you just find yourself doing that you are able to move now, you're able to take action, move forward, see this occurring,... Those are examples. As you hear my

words and understand what I'm saying you will find yourself understanding, what embedded commands are.

And again, your subconscious is hearing all of this stuff. The subconscious mind of the person you are talking to is hearing all of these things. The more that you layer in all of this stuff... remember it's listening on multiple levels... it's perceiving in multiple ways with multiple senses... it's not enough to just talk to somebody for five minutes and then all of a sudden you say that you will feel connected to

this person. It doesn't work that way.

See, over the course of time, you want to embed multiple commands. You want to embed different things i n . . . with the proper tonality of course, so that the commands are heard over and over again, or similar commands; Feel connected, feel comfortable, feel warm, trust this person, see that this is

someone that you would like,... you bring up things around the subject and you use them multiple times.

That's the way you use embedded commands. OK?

D3-T6 Now I have to say this with all due respect, when you hear me say a command, sometimes you'll hear me stop for a moment and... mark off the command... in a way that lets you know that I said it separately. Now I'm doing it in that example, just there, I did it really in an accentuated fashion to make a point, but you hear me on the tape sometimes say things in certain ways, where I do tend to mark them off in a manner that might be more than other people would tend to do.

I tend to think that's OK. Look, I have heard a lot of different opinions on this, and there has been some controversy on this by some people, but the bottom line is this... If you are congruent with it you can do a lot of different things, and I mark off the embedded commands quite a lot, when I'm speaking and the only people than those that are people that are well-trained in linguistics. I don't consciously do it anymore. I just find myself doing it because it's more and more a part of the way I speak, but I do it a lot.

I think part of the reason I am able to do that, and I am able to mark off embedded commands, is that my voice normally does have quite a range to it. I will talk fast, I'll talk slow. I'll have a higher pitch, I'll have a lower pitch, I will vary myself to the degree where, if I do something like an embedded

command, it doesn't stand out as much. If I spoke in a monotone all the time, you know, so that all of my words tended to sound very similar, and I always had the same cadence and the same rhythm and then all of a sudden I . . . marked off an embedded command... then it would sound more obvious that I had done so. See what I mean?

But if I talk in the way that I have been talking on these tape sets, then it doesn't stand out as much. It still has that effectiveness.

So that's something about commands for you. "Embedded commands", make sure you wrote it down in the diagram. If you want to write down a definition down on the right hand side or on any of the other pages, go ahead and do so.

D3-T7 Had you ever somehow mysteriously found yourself just able to wonder about what it might be

like if you could all of a sudden, magically really grasp the concept of trance words? Or you just wondrously were able to perceive and really know, and feel what it was like to get what a trance word is? Well, those were some examples!

The next thing that we are going to talk about is "trance words". So again, the lowest row of the hierarchy that you've got there, you've already got "tonality", "commands", write down "trance

words". That's the third one, "trance words".

These are things that, in the literal sense for the subconscious mind to interpret the word, it has to go into a trance state. When you do use a word like mysteriously, wondrously, magically, suddenly, when these words are perceived, in order to really perceive them and understand them to some degree, the

subconscious mind needs to go into that state and experience that state. So if you are just explaining things factually, it doesn't have as much power, because again, what part of the mind deals with facts and figures? That's right, the conscious mind. But if you speak and use a lot of trance words, where all

of a sudden you magically find yourself able to do that in a way, that you are using these wondrous,

descriptive, great terms, that just engage someone's subconscious mind in a way that just allows them to

really experience things in a different way. Well,... Then it really brings the subconscious mind into it that much more, because the subconscious mind is interpreting those.

Again, trance words, are the type that need to be interpreted by the subconscious almost... or their

interpretation is a subconscious mind process. So why not use them. It engages the subconscious mind.

Sounds pretty good, and a pretty effective way to make stuff happened and those are some examples for you just there, so, trance words. Make sure it's written down again on the right hand side or on some of the other pages, you could write down a definition for yourself. OK? And if you need to stop the tape, or the CD during this to maybe write those definitions down because you find yourself magically wanting

to do that... now... then go ahead.

D3-T8 The next thing I want to talk about is touching. Yup, touching. Now again, this is in the lowest row of the hierarchy. Touching, the fourth item that you are putting down as we complete the first row.

Now some people call this "kino", which is a sort of a slang, hipster slang for kinesthetic. But touching. Touching someone. Make sense?

It's something that we do, it's something that we do naturally, when you're in rapport with somebody, sometimes you'll just touch them lightly on the arm, touch them on the hand, you know pat them on the back. If you are more intimate, you may touch their face, but it's a very... I'm putting down touching just in and of itself. Now, it can be used as an anchor—it can be used as part of a gesture—those are

higher level things in the hierarchy—but a touch in the most very basic, very specific thing that can be used in different ways, and we'll talk about that in a while. But down there in the lowest level is

touching. That makes sense what it is I hope, right? You take your hand or a part of your body, and you place it on their body someplace. That is a touch... And congratulations, you have succeeded in

completing the bottom row of the tools hierarchy for Speed Seduction®.