There is a special sound and color of love according to Dr. Horowitz, a Harvard-trained award-winning investigator. Broadcasting the right frequency can help open your heart, prompt peace, and hasten healing. “We now know the love signal, 528 Hertz, is among the six core creative frequencies of the universe because math doesn’t lie, the geometry of physical reality universally reflects this music; these findings have been independently derived, peer reviewed, and empirically validated,” Dr. Horowitz says.
The third note, frequency 528, relates to the note MI on the scale and derives from the phrase “MI-ra gestorum” in Latin meaning “miracle.” Stunningly, this is the exact frequency used by genetic biochemists to repair broken DNA – the genetic blueprint upon which life is based! MI – 528 Hz – relates to crown chakra. Dr Puleo suggests an association with DNA integrity.
The regular “C” that we all know of in this culture (which is from the diatonic scale of do, re, mi, fa, so, la, ti, do) is not the 528 Hz frequency “C.
A regular “C” vibrates at a frequency of 523.3 Hz.
The “C” of 528 Hz used for DNA repair is part of an ancient scale called the Solfeggio Scale.
To access and/or purchase these sounds, click the link below:
Also, visit the link to Divine Solfeggio Sounds (below) to hear a Mandala pattern of this frequency:
> Previous post on the Solfeggio frequency 528:
Sacred Sound Alchemy for DNA Repair and Healing
Forgotten In Time: The Ancient Solfeggio Frequencies
What Are The Ancient Solfeggio Frequencies?
These original sound frequencies were apparently used in Ancient Gregorian Chants, such as the great hymn to St. John the Baptist, along with others that church authorities say were lost centuries ago. The chants and their special tones were believed to impart tremendous spiritual blessings when sung in harmony during religious masses. These powerful frequencies were rediscovered by Dr. Joseph Puleo as described in the book Healing Codes for the Biological Apocalypse by Dr. Leonard Horowitz. I give honor to both of these gentleman for the part they’ve played in helping return these lost frequencies back to humanity.
The Six Solfeggio Frequencies include:
UT – 396 Hz – Liberating Guilt and Fear
RE – 417 Hz – Undoing Situations and Facilitating Change
MI – 528 Hz – Transformation and Miracles (DNA Repair)
FA – 639 Hz – Connecting/Relationships
SOL – 741 Hz – Awakening Intuition
LA – 852 Hz – Returning to Spiritual Order
For example, the third note, frequency 528, relates to the note MI on the scale and derives from the phrase “MI-ra gestorum” in Latin meaning “miracle.” Stunningly, this is the exact frequency used by genetic biochemists to repair broken DNA – the genetic blueprint upon which life is based!
A Little History
At the turn of the century the awareness of DNA entered the collective consciousness of the world. We have incarnated into this human experience as divine beings with a blueprint, a set of instructions. We know that a very small percentage (3%) of those instructions make up our physiology.
Carl Sagan writes that most of our genetic information (about 97%) is unused DNA. He refers to this as “genetic gibberish.” Is it possible that most of who we are still lies dormant as our human potential?
In the old paradigm of religion, “potential” remained a mystery to the human mind, therefore we coined a mystical term called “SPIRIT.” “Spirit” was something that was detached from who we were, something we didn’t have and could only be gained through the systems of most religions.
The old paradigm and its premise stated that we began as biology in the womb of our mothers. Telliard deChardin tells us that we are not a human being trying to attain a spiritual experience, but, rather, we are spiritual beings having a human experience. This shift in perception causes a tremendous difference in the way we perceive ourselves in this third/fourth time-space continuum.
Being a student of “A Course In Miracles” in the late 80’s, I was faced with a dichotomy in the idea that we are not a body. I never understood this statement fully until I read a quotation by Albert Einstein which stated: “Concerning matter, we have been all wrong. What we have called matter is energy, whose vibration has been so lowered as to be perceptible to the senses. There is no matter.” I believe what is being stated is that at the deepest level we are not separate, as a body, as a spirit, as a soul — we are just energy-beings. This is the level of consciousness being opened to us from which a new paradigm is emerging for the purpose of healing all separation. The popular term, “The Divine, is in me”- makes “me” separate from the Divine. May I suggest a shift in the saying to: “The Divine, AS me” to remove the separation.
As we move from genetics and concepts like Soul, “Soul Mates” and “Soul work,” we move beyond physical diagnosis, into a new field of quantum physics. In this new field, where consciousness is seen as a unified field where everything is everything else, (T.O.E. Theory – The Theory of Everything) —there are no boundaries. There is no “this” or “that;” no you or me. It is a pure field of awareness – consciousness. I solved the dichotomy about “we are not our body” by changing my perception of genetics to energetics – realizing that we are not meant to ignore our physiology, but recognize the body as energy, vibrating at a very dense frequency.
I was first introduced to DNA in 1988 when I was going through a transitional period, during which I felt that I had come to the end of everything that I believed. A tape was given to me of a gentleman speaking in an accent, (which I thought at the time, was rather boring), and I didn’t understand what he was talking about. Then all of a sudden, as I was ready to turn it off, he said: “Quantum physics has found that there is no empty space in the human cell, but it is a teeming, electric-magnetic field of possibility or potential.” That’s all he said! But whatever frequency was contained in those words, RESONATED something inside the CORE of my BEING — and I had a KNOWING in me that the NOTHING I thought I was looking at was the EVERYTHING. Much like in Zen, and the idea of becoming “as an empty bowl.” Eastern Religions (including the Bible) refer to it as the VOID – The Nothing that is EVERYTHING – The Womb of Creation. I knew that I was experiencing a re-birth! The person on that tape was Dr. Deepak Chopra.
I had never heard of Deepak Chopra in 1988, as he was just coming on the scene about that time. I credit him for a very important transition in my life, just from the statement he made on that tape. Today, in retrospect, I would call my response to that statement a “cellular memory experience.” We know that intelligence is stored within the cells of the body, and when the right resonance comes and releases that information to become inherent information or inherent KNOWLEDGE – that comes from the true Self. That is why so many of us seem to jump form one stimuli to another looking for what will resonate in us.
The work being done today with energy at the cellular level really excites me, since I had been very interested in DNA before it became a household word. In fact, I think it took me two years just to learn how to pronounce it (deoxyribonucleic acid did not roll off my tongue quickly). But, I was determined to understand this tremendously powerful energetic blueprint for life, as we know it, at the cellular level on this planet. DNA became a part of the collective consciousness when CNN produced a special on the Genome Project in 2000.
As I pursued my passion for the study of DNA, I attended a workshop by Dr. Robert Girard from California on DNA Activation. His work focused on using certain sounds and frequencies to activate DNA and I started doing DNA Activation workshops. Through those workshops, an article was given to me that reported how biochemists are using the frequency 528Hz to repair human DNA. The article stated that it was a “C.” When I read that I thought, “All I would need to do is go to a piano or other instrument and play a “C” and then, in the DNA workshops we would be able to repair DNA.”
Well, it wasn’t that simple, because I discovered that the regular “C” that we all know of in this culture (which is from the diatonic scale of do, re, mi, fa, so, la, ti, do) was not the 528 Hz frequency “C”, as described in the article. Instead, I discovered that a regular “C” vibrates to a frequency of only 512 Hz, and that the “C” of 528 Hz used in DNA repair had been a part of an ancient scale called the Solfeggio Scale. Moreover, the difference in the scales existed because of different tuning methods that were utilized in ancient times, vs. those in general use today. Later, we will explore that difference between how we create music today vs. how we used to create it, and how that simple change has made all of the difference in the world.
How I found out about the Ancient Solfeggio Frequencies
I found this ancient scale to be part of a 6-tone scale sequence of electro-magnetic frequencies called the Original Solfeggio Scale through the book “The Healing Codes of Biological Apocalypse” by Dr. Leonard Horowitz. These particular frequencies were rediscovered by Dr. Joseph Puleo, who received them in a wonderful experience that some would suggest was mystical. These frequencies are not something new, but they are something very old.
I shared the information about these frequencies with a musician friend who had a studio in her home. After reviewing the information, she decided that she would like to experiment with these frequencies in the form of meditation music. She was also in touch with Jonathan Goldman (author of the book, “Healing Sounds”) and he knew of these frequencies, and was using them in some of his music such as “The Lost Chord” CD. Aryiana requested that he have the tuning forks made for her to research the frequencies. I asked if she could also have a set made for me.
After I received the tuning forks and began talking about them around the country, I noticed that people were resonating with the information about these powerful frequencies. It felt as though something was going on in a much larger picture. We were connecting energetically to this information, and yet I didn’t know what I was going to do with the tuning forks. Then people began to ask if I could use the tuning forks on them. From those experiences, and with information I had gathered, a method and technique began to develop. I called the technique SomaEnergetics TM, which is designed to utilize the optimum energy of the Solfeggio frequencies using tuning forks. Soma, meaning “body” in the Greek, combines the wholistic idea of the body as an energy field – SomaEnergetics TM.
When starting these first tunings, the main frequency that I knew the most about was 528 Hz – that biochemists are using for DNA repair. I realized that the right side of the body is controlled by the left-brain, and the left side by the right brain and that these correspond with our inner male and female energies. As I took the fork down each side of the body, I could get in touch with the dominate ancestral DNA that comes thru the Mother’s side or Father’s side of the chromosomes. I would many times get a tremendous imbalance in the sound between the two sides. The purpose of energy work, as many of you know, is to attain balance. For example, if everything is in balance, such as the ph level, the physical body can heal more naturally. It’s the same way in our energy bodies. If we can find that energy balance, that equilibrium, where everything aligns or everything comes into synchronization into the rhythm of the dance of life – then healing becomes the natural state. It’s nothing supernatural, or miraculous. I think a lot of spiritual texts have referred to this idea when they describe, “going home to heaven.” Heaven, to me, is the complete synchronization with higher frequencies and vibrations of creation being totally entrained. In other words, being in a state of at-one-ment.
When I would continue to do the technique, the sound would begin to even out between the male and female sides of the body, and the client would indicate they were “feeling” a shift. As that would occur, I was totally amazed, and asked myself, “What is happening here?” Although I’ve been a speaker of spiritual things for over 40 years, I can’t tell you that I’ve been the most intuitive person in the world. All of a sudden I started having certain feelings about what to do with the forks. I found that at some point in working with the client, I stopped “doing” the tuning forks (being the initiator of the technique), and they started “doing me” – seeming to direct the movement of the Forks! After hundreds of tunings and positive testimonies, I have learned to trust the Ancient Solfeggio Scale frequencies in the form of Tuning Forks as a legitimate modality.
Energy and Relationship
Everything is relationship. I remember Dr. Fred Wolf, who is a physicist stating on a tape “Everything is consciousness.” He further noted, “When you are observing an object, on some level the object is observing you.” As I listened to that statement, I thought it was strange. I then realized that because something doesn’t have a human consciousness, as I do, that doesn’t mean it doesn’t have it’s own consciousness. Apparently, observing something changes it on some level – that the observer, and the observed are one.
I treat the Solfeggio tuning forks as a conscious “entity.” They are energy, they’re vibration, they’re frequency – the client is vibration, frequency and energy – I am vibration, frequency and energy. All of that coming together begins to produce a synergetic experience that takes place on many levels. The energy bodies that we focus on using the Solfeggio Frequencies are the physical, the etheric, the mental/emotional, and the astral.
Sound, Vibration and Form
For more than 200 years, researchers have been validating the connections of Sound and Vibrations on physical form. The first to make that connection was German scientist Ernst Chladni, who, in 1787, detailed his research in his book “Discoveries Concerning the Theory of Music.” In that pioneering work, he explained ways to make sound waves generate visible structures. He detailed how a violin bow, drawn at a right angle across a flat plate covered with sand, produces patterns and shapes. Today, those patterns and shapes are called Chaldni figures. (Coincidentally, Chaldni died in 1829, the same year as Beethoven. Mozart, a Free Mason, heavily influenced Beethoven about the mathematics of music, and likely influenced Chaldni as well).1
In 1815, Mathematician Nathaniel Bowditch followed up on Chaldi’s discoveries. He concluded that the conditions for these designs to arise were because the frequencies, or oscillations per second, were in whole number ratios to each other—such as 1:1, 1:2, 1:3 and so on.2
The study of wave phenomena, the ability of sound to organize and repattern matter, is called Cymatics. According to John Beaulieu, in Music and Sound in the Healing Arts, “Form is the more elusive component of sound. Sound-forms can be seen by subjecting mediums such as sand, water, or clay to a continuous sound vibration.” The following pictures taken by Dr. Hans Jenny are sound-forms. They were obtained by placing various mediums on a steel plate with a crystal sound oscillator attached to the bottom. The Oscillator creates a pulse, which vibrates the steel plate. The forms on the plate are examples of sound organizing matter.” Jenny also “noticed that when the vowels of ancient languages like Hebrew and Sanskrit were pronounced, the sand took the shape of the written symbols for those vowels. “Modern languages, including English, failed to generate those patterns.”
“Space is not empty. It is full, a plenum as opposed to a vacuum, and is the ground for the existence of everything, including ourselves. The universe is not separate from this cosmic sea of energy.” David Bohm
Jenny concluded that were examples of cymatic elements everywhere—”vibrations, oscillations, pulses, wave motions, pendulum motions, rhythmic courses of events, serial sequences, and their effects and actions”—and they effected everything including biological evolution. The evidence convincingly demonstrated that all natural phenomena were ultimately dependent on, if not entirely determined by the frequencies of vibration. He argued that physical healing could be aided or hindered by tones. Different frequencies influenced genes, cells, and various structures in the body, he claimed.
Vibration of Music of the Spheres: “Every cell pulsates, reflects and interacts with acoustic oscillations of the medium. Even the earth and sun vibrate in unison based on a main rhythm of 160 minutes. Each musical note is therefore united to non-audible notes of higher octaves, and each symphony to other symphonies that we do not hear, and although they make our cells oscillate and possibly resonate. Even DNA has it’s own melody. The musical nature of nuclear matter from atoms to galaxies is now recognized by official science.”3 In ” Molecules of Emotion,” by Candice Pert, Ph.D., she writes, “… basically, receptors function as scanners (sensing molecules, on a cellular level). They cluster in cellular membranes, waiting for the right ligand (much smaller molecules than receptors), to come dancing along (diffusing) through the fluid surrounding each cell, and mount them – binding with them and (tickling ) them to turn them on and get them motivated to vibrate a message into the cell. Binding of the ligand to the receptor is likened to two voices, striking the same note and producing a vibration that rings a doorbell to open the doorway to the cell.”
Poet Cathie Guzetta summarized this science best when she wrote:
“The forms of snowflakes and faces of flowers may take on their shape because they are responding to some sound in nature. Likewise, it is possible that crystals, plants, and human beings may be, in some way, music that has taken on visible form.”
How Did The Solfeggio Frequencies Get Lost?
I discovered that these powerful frequencies had been given to the church many years ago for a very spiritual purpose. This was back when the church was a wonderful place for the people in the villages to gather together. The church served as a social, political, and spiritual place. People came to Mass, which at that time, was done in Latin (until Vatican II came along). When people sing in Latin or musical tones, it is very powerful, because it gets through all of the limited thought forms, and into deeper levels of the subconscious – accessing insights beyond belief systems.
As described above by Dr. Candice Pert, PhD, energy and vibration go all the way to the molecular level. She states that we have 70 different receptors on the molecules and when vibration and frequency reaches that far they begin to vibrate. Moreover, she observed, “as they begin to vibrate they sort of touch each other, and tickle each other, and they play and mount each other.” It’s this whole energetic dance ritual, at the cellular level, that opens the chromosomes and exposes the DNA to the frequencies. When we do toning, drumming, chanting, or tuning forks – it can be a way to direct energy for transformational purposes.
Vibration and sound can be used, like most things, either with positive intention or negative intention. Used negatively, it’s nothing more than control and manipulation. Most of the world has been built upon control and manipulation by the way we communicate thru language. A lot of different texts, such as the Bible, talk about the importance of just making Sound—whether it’s chants, drumming, or speaking in tongues (such as the charismatic fundamentalists do), they are just different ways that people are accessing deeper levels of themselves. I suggest to you that the Solfeggio Tuning Forks are an even purer ways of doing that with positive intention.
When Dr. Joseph Puleo was researching the tones, he was directed to a Monsignor at a university in Spokane WA, who was head of the mediaeval department. Following a 20 minute conversation, the
“Can you decipher Mediaeval Latin?’
‘And you know the musical scale and everything?’
‘Well then, could you tell me what ‘UT – queant laxis’ means?’
After a brief pause, the Monsignor quipped, ‘It’s none of your business’
Then he hung up.”1
Additionally, as Dr. Puleo researched the tones further, he came across a book on Gregorian chants by Professor Emeritus Willi Apel who “argued that the chants being used today were totally incorrect, and undermined the spirit of the Catholic faith.”1 Moreover, Professor Apel reported that “one-hundred fifty-two chants were apparently missing. The Catholic Church presumably “lost” these original chants. The chants were based on the ancient original scale of six musical notes called the Solfeggio.”1 Trust me, nothing is lost, it’s just neatly put away; however, they cannot hide from the masses what is energetically placed within the Soul.
According to Professor Willi Apel,1 “The orgin of what is now called Solfeggio…arose from a Mediaeval hymn to John the Baptist which has this peculiarity that the first six lines of the music commenced respectively on the first six successive notes of the scale, and thus the first syllable of each line was sung to a note one degree higher that the first syllable of the line that preceded it. By degrees these syllables became associated and identified with their respective notes and as each syllable ended in a vowel, they were found to be peculiatly adapted for vocal use. Hence “Ut” was artificially replaced by “Do.” Guido of Arezzo was the first to adopt them in the 11th century, and Le Marie, a French musician of the 17th century added “Si” for the seventh note of the scale, in order to complete the series.”
Further research states that, “Pope Johannes later became a saint – Saint Iohannes – and then the scale was changed. The seventh note “Si” was added from his name. “Si” later became “Ti.” These changes significantly altered the frequencies sung by the masses. The alterations also weakened the spiritual impact of the Church’s hymns. Because the music held mathmatic resonance, frequencies capable of spiritually inspiring mankind to be more “Godlike,” the changes affected alterations in conceptual thought as well, further distancing humanity from God.” In other words, whenever you sing a Psalm, it is music to the ears. But it was originally intended to be music for the soul as well or the “secret ear.” Thus by changing the notes, high matrices of thought and to a great extent well being, was squelched. Now it is time to recover these missing notes.”1
I’d heard of do, re, me, fa, so, la, ti, do. I particularly responded to it whenever I hear that song by Julie Andrews from “The Sound of Music.” I literally have a “brain cell firing” as it is engraved into my brain, and I see her coming over the mountain in the movie. I didn’t realize this was actually a second, modified scale. The original Solfeggio scale was actually: UT, RE, MI, FA, SO, LA.
Looking at the definitions of each of the original syllables, using hidden entries from Webster’s Dictionary and the Original Greek Apocrypha, I have determined that these original frequencies can be used for: Turning grief to joy, helping the person connect with their Source to bring forth miracles, DNA repair, connecting with spiritual family, solving situations & becoming more intuitive, and, finally, returning to spiritual order.2 Through music these tones can assist all the channels in staying open and keep the life force (the Chi) literally flowing thru the Chakra System quite freely. Is this is what the six electro-magnetic frequencies were to accomplish that were put into “lost” hymns and Gregorian chants?
I think we are living in a tremendously wonderful time, and rather than seeing the glass as “half empty,” I see it as “half full.” Rather than accepting “CNN’s perspective” of the world view, it’s about finding perspective thru the vision of your own heart. It is about change and transformation of mankind to the next level of evolution. We, as Spiritual Light Workers, have made ourselves accessible at this time, by Divine Appointment, to be here to help those in humanity who choose (it’s all based upon irrevocable choice) to stay, or to go. Those who have chosen to stay will come into our lives, and we have already agreed to assist them.
It’s all about assisting other people. It’s not to be their “Healer,” but to assist them in knowing who they are and connecting with their true Source. It is about providing an atmosphere of non-judgement, a Sacred Space, for the purpose of healing themselves. We should be continuously teaching while assisting people. The old paradigm teaches us to keep the information among the professionals. The new paradigm is to share the information, and empower the client. Everyone you work with—whether it’s Reiki, Massage, Tuning Forks or other modalities you are using, you should feel that you’ve empowered that person, so they can extend this information to someone else. Healing has become about our evolution by reconnecting our additional strands of DNA. Healing is also about assisting the person in restoring themselves to a state of “Spiritual Wholeness.”
1 “Healing Codes for the Biological Apocalypse” by Dr. Leonard Horowitz, p. 345-6
3 From “Man’s Cosmic Game” by Guiliana Conforto
The 3, 6, and 9
As we look at the six original Solfeggio frequencies, using the Pythagorean method, we find the base or root vibrational numbers are 3,6, & 9. Nicola Tesla tells us, and I quote: “If you only knew the magnificence of the 3, 6 and 9, then you would have a key to the universe.”
John Keely, an expert in electromagnetic technologies, wrote that the vibrations of “thirds, sixths, and ninths, were extraordinarily powerful.” In fact, he proved the “vibratory antagonistic thirds was thousands of times more forceful in separating hydrogen from oxygen in water than heat.” In his “Formula of Aqueous Disintegration” he wrote that, “molecular dissociation or disintegration of both simple and compound elements, whether gaseous or solid, a stream of vibratory antagonistic thirds, sixths, or ninths, on their chord mass will compel progressive subdivisions. In the disintegration of water the instrument is set on thirds, sixths, and ninths, to get the best effects.”
In the book of Genesis it states that there are six days of creation. Yet many talk about the creation week – or seven days, and the Christian Bible views the number seven as the number of completeness. Why Seven? It is due to the influence of the Near Eastern culture at the time in which Jesus lived, when it was believed that there were only seven planets.
When wrestling with adding a 7th number, I was mystically drawn to an article in Discover Magazine. In his newest book, Just Six Numbers, Rees argues that six numbers underlie the fundamental physical properties of the universe, and that each is the precise value needed to permit life to flourish. In laying out this premise, he joins a long, intellectually daring line of cosmologists and astrophysicists (not to mention philosophers, theologians, and logicians) stretching all the way back to Galileo, who presume to ask: Why are we here? As Rees puts it, “These six numbers constitute a recipe for the universe.” He adds that if any one of the numbers were different “even to the tiniest degree, there would be no stars, no complex elements, no life.” (From Discovery Magazine). As some authors have speculated, could these tones have played a role in the miraculous shattering of Jericho’s great wall in six days before falling on the seventh day? Some scientists are now stating that if we have been created, we most likely would have been sung into existence. Is it possible that the six days of creation mentioned in Genesis represent six fundamental frequencies that underlie the universe? Religious scholars believe both events occurred as a result of sounds being spoken or played.
Other scientists, including the geniuses Nikola Tesla, Raymond Rife, as well as Mozart, Haydn, Beethoven, and Chladni, all must have known about, and used the concept of, the inherent power of threes, sixes, and nines. So we are dealing with three powerful numbers: 3-6-9. Everyone of the six Solfeggio Tuning Forks all add up, individually to the Pythagorean scheme of 3-6-9. In fact, because there are two sets of 3-6-9 (anagrams) in the solfeggio, they are even more powerful as these combinations serve as “portals” to other dimensions!
Just Intonation – 12 Tone Equal Temperament
As I observed earlier, another reason these Ancient Solfeggio frequencies became “lost” was because of the change in tuning practices throughout history. The standard tuning method for the past 200 years is quite different from the tuning practices dating from antiquity through about the 16th century A.D. These ancient tuning practices used a system of tuning known as Just Intonation. The tuning practice adopted for western cultures during the 16th, 17th, and 18th centuries, and used today, is known as Twelve-Tone Equal Temperament. The explanation of the fundamentals of these tuning systems is far too complex for this agenda, but the following quote from a book written by David B. Doty, titled The Just Intonation Primer, should give an idea of the confinement that music has been relegated to. “Essentially, music has been placed in a box of limitations”— as the result of the rigidity imposed by the Twelve-Tone Equal Temperament tuning standards in use today.
“Although it is difficult to describe the special qualities of Just (Intonation) intervals to those who have never heard them, words such as clarity, purity, smoothness, and stability come readily to mind. The supposedly consonant intervals and chords of (12-Tone) Equal Temperament, which deviate from simple rations to varying degrees, sound rough, restless, or muddy in comparison.”
Just Intonation can be found in many of the great Fathers of Classical Music – Beethoven and Hyden, just to name a few. They did not use this 12-tone temperament and I think that is why we have a richer experience when we hear music that was composed several hundred years ago. Classical Music based on Just Intonation gives us a different rapport with time and space and brings us into our higher chakras.
Native American chanting is many times based on Just Intonation. The chanting seems to sound monotone, but we are finding out that within the monotone sound is multi-dimensional harmonics.
How these different types of tones affect our health
Consequently, since all music in our contemporary world (from commercials, to modern hymns and symphonies) has been composed utilizing the 12-Tone Equal Temperament Scale, they all have vibrational limits. As a result, vibrational frequency of the tones of modern music can create situations such as “boxed-in thinking,” stuffed and suppressed emotions; and fear-based ” lack” consciousness—all of which then tend to manifest into physical symptoms of “dis-ease.”
This is in contrast to music created from the Ancient Solfeggio Scale, which stimulates the vibration of expanded creativity, easier problem solving and holistic health.
Again, it should be noted that although there are contemporary notes that approximate the Solfeggio tones, they are not the same frequencies as the ancient tones. Example: The Solfeggio tone, Mi. vibrates to 528 Hz. The closest, comparable, contemporary tone is C, above Middle C, which vibrates at 512 Hz. Our research indicates that the vibrational frequencies contained in the Solfeggio tones hold these original healing potentials.
1 – Professor Apel’s and Dr. Puleo’s remarks as reported in “Healing Codes for the Biological Apocalypse” by Dr. Leonard Horowitz. Pages 58-61
2- Hidden Entry Meanings from the book, “Healing Codes for the Biological Apocalypse” by Dr. Leonard Horowitz. Pgs. 166-67
Transformational Tuning Forks and CD’s based on the ancient Solfeggio Frequencies.
Download Printable version of the full booklet: Forgotten In Time: The Ancient Solfeggio Scale (.pdf 233kb)
# John Beaulieu, “Music and Sound in the Healing Arts.” Station Hill Press, 1987
# Giuliana Conforto, “Man’s Cosmic Game,” Edizioni Nowsis, 1998
# David B. Doty, “Just Intonation Primer”
# Jonathan Goldman, “Healing Sounds: The Power of Harmonics,” Element Books, 1992
# Leonard Horowitz and Joseph Puleo, “Healing Codes for the Biological Apocalypse,” Tetrahedron Publishing Group, 1999
# Candice Pert, PhD, “Molecules of Emotion”
# Michael Talbot, “The Holographic Universe”
# Dr. Rees, “Just Six Numbers”
Article from: http://www.lightwithin.com/SomaEnerg…_Solfeggio.htm
The new shape of music: Music has its own geometry, researchers find
The connection between music and mathematics has fascinated scholars for centuries. More than 200 years ago Pythagoras reportedly discovered that pleasing musical intervals could be described using simple ratios.
And the so-called musica universalis or “music of the spheres” emerged in the Middle Ages as the philosophical idea that the proportions in the movements of the celestial bodies — the sun, moon and planets — could be viewed as a form of music, inaudible but perfectly harmonious.
Now, three music professors – Clifton Callender at Florida State University, Ian Quinn at Yale University and Dmitri Tymoczko at Princeton University — have devised a new way of analyzing and categorizing music that takes advantage of the deep, complex mathematics they see enmeshed in its very fabric.
Writing in the April 18 issue of Science, the trio has outlined a method called “geometrical music theory” that translates the language of musical theory into that of contemporary geometry. They take sequences of notes, like chords, rhythms and scales, and categorize them so they can be grouped into “families.” They have found a way to assign mathematical structure to these families, so they can then be represented by points in complex geometrical spaces, much the way “x” and “y” coordinates, in the simpler system of high school algebra, correspond to points on a two-dimensional plane.
Different types of categorization produce different geometrical spaces, and reflect the different ways in which musicians over the centuries have understood music. This achievement, they expect, will allow researchers to analyze and understand music in much deeper and more satisfying ways.
The work represents a significant departure from other attempts to quantify music, according to Rachel Wells Hall of the Department of Mathematics and Computer Science at St. Joseph’s University in Philadelphia. In an accompanying essay, she writes that their effort, “stands out both for the breadth of its musical implications and the depth of its mathematical content.”
The method, according to its authors, allows them to analyze and compare many kinds of Western (and perhaps some non-Western) music. (The method focuses on Western-style music because concepts like “chord” are not universal in all styles.) It also incorporates many past schemes by music theorists to render music into mathematical form.
“The music of the spheres isn’t really a metaphor — some musical spaces really are spheres,” said Tymoczko, an assistant professor of music at Princeton. “The whole point of making these geometric spaces is that, at the end of the day, it helps you understand music better. Having a powerful set of tools for conceptualizing music allows you to do all sorts of things you hadn’t done before.”
“You could create new kinds of musical instruments or new kinds of toys,” he said. “You could create new kinds of visualization tools — imagine going to a classical music concert where the music was being translated visually. We could change the way we educate musicians. There are lots of practical consequences that could follow from these ideas.”
“But to me,” Tymoczko added, “the most satisfying aspect of this research is that we can now see that there is a logical structure linking many, many different musical concepts. To some extent, we can represent the history of music as a long process of exploring different symmetries and different geometries.”
Understanding music, the authors write, is a process of discarding information. For instance, suppose a musician plays middle “C” on a piano, followed by the note “E” above that and the note “G” above that. Musicians have many different terms to describe this sequence of events, such as “an ascending C major arpeggio,” “a C major chord,” or “a major chord.” The authors provide a unified mathematical framework for relating these different descriptions of the same musical event.
The trio describes five different ways of categorizing collections of notes that are similar, but not identical. They refer to these musical resemblances as the “OPTIC symmetries,” with each letter of the word “OPTIC” representing a different way of ignoring musical information — for instance, what octave the notes are in, their order, or how many times each note is repeated. The authors show that five symmetries can be combined with each other to produce a cornucopia of different musical concepts, some of which are familiar and some of which are novel.
In this way, the musicians are able to reduce musical works to their mathematical essence.
Once notes are translated into numbers and then translated again into the language of geometry the result is a rich menagerie of geometrical spaces, each inhabited by a different species of geometrical object. After all the mathematics is done, three-note chords end up on a triangular donut while chord types perch on the surface of a cone.
The broad effort follows upon earlier work by Tymoczko in which he developed geometric models for selected musical objects.
The method could help answer whether there are new scales and chords that exist but have yet to be discovered.
“Have Western composers already discovered the essential and most important musical objects?” Tymoczko asked. “If so, then Western music is more than just an arbitrary set of conventions. It may be that the basic objects of Western music are fantastically special, in which case it would be quite difficult to find alternatives to broadly traditional methods of musical organization.”
The tools for analysis also offer the exciting possibility of investigating the differences between musical styles.
“Our methods are not so great at distinguishing Aerosmith from the Rolling Stones,” Tymoczko said. “But they might allow you to visualize some of the differences between John Lennon and Paul McCartney. And they certainly help you understand more deeply how classical music relates to rock or is different from atonal music.”
Article from: http://www.physorg.com/news127659537.html
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