[The material here is adapted from the original edition of Journey of Your Soul. I cut most of it from the new edition because it tended to make people’s eyes cross. 🙂 It is based on information in the “Michael-Math” chapter of Yarbro’s More Messages from Michael. It might take more than one read-through before it falls into place. However, if you are studying the three casting numbers on my Michael Reading charts (in the row labeled CADENCE POSITION, CADENCE, and GREATER CADENCE), this will help you understand their significance and the patterns they can make. Please see chapter 12, “Cadences and Numbers,” in Journey of Your Soul for more information.
JP Van Hulle channeled another casting system with terms such as raw number, global jobs, and community responsibility. From discussions with JP and fellow channel Michael North, it became clear that it does not translate into the system I present here based on Yarbro’s Michael math — they describe different things. Several students have found both systems to be valid and useful.]
A person’s casting is his position within his consecutively larger groupings of souls. Here’s a diagram I use for it in Journey of Your Soul:
It illustrates a scholar in a hypothetical entity with four roles and a total of 931 essences. This scholar in the third (warrior) position of his cadence. That cadence is in the seventh (king) position within its greater cadence. That greater cadence, in turn, is in the fifth (sage) position in its string of scholar greater cadences. (According to Yarbro, cadences and greater cadences are groups of seven, but there can be a varying number of greater cadences of each role. In the entity diagrammed here, there are five greater cadences of scholars.) On my charts, that would be written as 3/7/5. That could be described as the scholar’s casting (along with his entity position, which in this case is two/artisan). More commonly, it might be said that he has three/warrior casting, because he is in the third position of his cadence, and cadence position is the most prominent casting influence.
Reviewing basic Michael math, each role and overleaf correlates with a number. Each number has a positive and negative pole:
One — Server (+ Purpose, – Simplicity)
Two — Artisan (+ Stability, – Balance)
Three — Warrior (+ Enterprise, – Versatility)
Four — Scholar (+ Consolidation , – Achievement)
Five — Sage (+ Expansion, – Adventure)
Six — Priest (+ Harmony, – Connection)
Seven — King (+ Inculcation, – Eclecticism)
The diagram’s representation of the entity is a simplification of what can be rather complex. Circles are used throughout the diagram 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.) In this example, each greater cadence consists of essences of only one role, although that is not always the case.
I will use myself to give another example of casting. I am in the fifth (sage) position of my cadence, which is in the fourth (scholar) position of its greater cadence, which is the third (warrior) greater cadence of sages in my entity. I record that on my chart as 5/4/3. So my casting is 5/4/3 (plus being in a two-position entity). Alternatively, it might simply be said that I have sage 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, even mixing with other roles within a cadence. Therefore, two souls with the same role in the same entity can be channeled as having the same casting because there is more than one pocket of that role within that entity, and the numbering starts over. One would then have to have more precise information about an entity’s structure (which is difficult to channel) to exactly locate a soul within it, if it is even valid to say that souls have a location. It is probably more correct to say that souls have a unique vibration.
When all the greater cadences of one role are not 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 thus broken open, the entity as a whole is more homogenous, of one cloth.
Although More Messages from Michael‘s “Michael-Math” chapter discusses the position of the greater cadence, the Yarbro channels don’t include it when they cite a person’s casting, reflecting its relative lack of importance. I include it mainly to see if it reinforces other casting numbers or essence twin bleedthrough. For example, if my greater cadence position were four rather than three (5/4/4), the second four would underline and make stronger my secondary scholar casting and make it stand out more. When Yarbro channels give someone’s full casting, they give three numbers, but the third one is for the entity’s position within its cadre. I give three numbers for cadence position/cadence/greater cadence, then another two for cadre/entity.
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 or greater cadences have gaps, most frequently at the end, to facilitate the entity structure desired by its members. In other words, all seven cadence positions may not be filled. Since “all is choice,” according to Michael, this is plausible, if unusual. The second possible reason is what JP Van Hulle’s channeling calls wild cards, essences who do not occupy a standard fixed position. They are available to facilitate unusual entity tasks. Wild cards are also unusual when there is a classic entity structure.
In Journey of Your Soul, I liken casting to musical overtones that give each essence a unique “tone” due to 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 casting, the first being loudest. 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 perhaps 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 (other than the fact that sage casting is ordinal, whereas the role is cardinal; see the subchapter “Number Correlations” in chapter 12, “Cadences and Numbers”). It could be said that I’m an especially expansive sage, since expansion is the positive pole of the number five. However, sages are already expansive by nature, or at least adventurous, in the negative pole. Since numbers are abstract, their negative poles do not refer to destructive qualities (as other negative poles do) but simply to limited or narrow experiences of their vibration. It is not bad to be adventurous, for instance, but it is not as meaningful as being expansive.
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, almost 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. Even though kings are cardinal, king casting is ordinal, so a warrior/server in the 7/7/7 position is entirely ordinal.
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 to stand between it and the entity structure as a whole. The one in this position brings out the qualities of the number before it, just as servers as a role can bring out the qualities of others they stand behind. The number one carries more of its own server flavor when it is more forward, the first or second casting number rather than the third (e.g., 1/7/6 or 3/1/2).
Therefore, 4/2/1 casting has more number-two/artisan resonance than 4/2/3, for example, and almost as much as 4/2/2, in which the third number directly reinforces the artisan casting of the second number.
That essence with 4/2/1 casting is in the scholar position within its 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 first cadence in the first greater cadence of a role grouping 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. In this example, the server/ones also reinforce the six in that priests and servers are similar, being the inspiration-axis roles.
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. She is an 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. With the number one tripled, she has an extremely strong server quality. Since both warriors and servers tend to be tireless workers, she would likely have this quality. She would tend to be quite purposeful in using her powerful and protective warrior nature for the common good, which is a server emphasis. She might look like a cross between a warrior and a server, possessing both an instinctive drive and a nurturing quality. At first glance, you might not be able to tell which role she 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 grouping within their entity, they would also be highly influential (cardinal), having a leading-edge thrust despite being ordinal roles. Having three ones in a row brings the ultimate of that “stand alone” quality, potentizing their role energy as well as flavoring it with a server thrust.
As mentioned, entity number is part of casting. My entity is in the second (artisan) position. George Gershwin and Madonna are examples of bold sages with artisan flair channeled as being in my entity. According to my channeling, both are in a king cadence position; their main artisan influence is from their entity position, which stands out more from the distance of fame than up close.
I’ve never felt a particular connection with Madonna as I do with some of the other people channeled as being in my entity. However, during one of her movies, when she was looking directly at the camera and I could see her eyes (the “windows of the soul”), she seemed familiar. It was a matter of getting past her persona.
The fifth entity in my cadre, having a high artisan population, elegantly reflects the second entity; it is in a similar but opposite situation. Artisans in this sage-position entity, such as Walt Disney and Steven Spielberg, are creative with five/sage-flavored expansiveness. So the fifth entity has artisan energy with an ordinal sage-position “tilt,” and the second entity has sage energy with a cardinal artisan-position tilt.
Number influences are also illustrated by the Michael entity itself, which is in the fourth (scholar) position within their cadre. Michael uses their warrior and king efficiency to bring us a system of knowledge (positive pole of scholar).
JP Van Hulle channeled information 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 information 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.