Forgotten In Time: The Ancient Solfeggio Frequencies
Solfeggio Frequencies and DNA
The Solfeggio frequencies are reputed to be the original frequencies used by the Gregorian Monks when they chanted. The chant, based on the six notes, penetrates deep into the conscious and subconscious mind, drawing forth emotional reactions which we are sometimes unable to completely control.
Dr. Candice Pert, PhD, reinforces this observation stating, “Energy and vibration go all the way to the molecular level. We have 70 different receptors on the molecules and when vibration and frequency reaches that far they begin to vibrate”. These original frequencies appear to have been ‘lost’ over the centuries with the introduction of various new tuning methods.
I use the term ‘lost’ in inverted commas because nothing is ever really lost. It is merely converted or covered over with a layer of obfuscation…
The Solfeggio scale was ‘rediscovered’ by Dr Joseph Barber who claimed to have been guided intuitively to find a pattern of six repeating codes in the Book of Numbers. He found in Chapter 7, verses 12 through 83, number references that, when deciphered using a numerological technique, could be reduced to a single digit. This revealed a series of six electromagnetic sound frequencies which he determined to be the six missing tones of the ancient Solfeggio scale.
The notes in the scale are:
- “UT” – which cycles at 396 Hz
- “RE” – which cycles at 417 Hz
- “MI” – which cycles at 528 Hz
- “FA” – which cycles at 639 Hz
- “SOL” – which cycles at 741 Hz
- “LA” – which cycles at 852 Hz
Even among ancient cultures, the power of sound waves was believed to have an effect on the human body. Shaman used chanting and drumming to focus their spiritual, mental and physical energies. In short, they created and used sacred music to heal. Modern man, until recently, had forgotten about the power of sound, that is until Drs Barber, Horowitz and Puleo ‘rediscovered’ it.
Along with this discovery, additional research conducted by Dr Horowitz claims to have uncovered three more Solfeggio frequencies. My research has not discovered any vocal tones for these three frequencies, however, they are:
* 174 hz
* 285 hz
* 963 hz
With the addition of these three frequencies, the solfeggio scale now has nine tones. These can be represented as shown in the following diagram:
For those of you with a mathematical mind, you will already see the interrelationships between these numbers. Intriguing, don’t you think? Another thought provoking idea currently being given voice is the notion that matter does not really exist. Albert Einstein once 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.”
In an earlier article, DNA Activation, I mentioned research being undertaken in Russia. To recap one main point:
Russian scientists have discovered that: “Living chromosomes function just like a holographic computer using endogenous DNA laser radiation.”
So, matter does not exist and DNA functions like a laser. Modern physics has also postulated that DNA may function as a type of holographic projector which translates low vibrational state energy into ‘physical patterns’. These physical forms behave in a similar way to acoustic wave forms and as such can be used as a means for decoding genetic information through sound. David Hulse is credited with recognizing sound resonance as a basic principle of good health. He studied how certain sounds and frequencies could activate DNA and discovered that biochemists use the 528Hz frequency of the Solfeggio scale to repair DNA.
Next time you are listenting to a particularly stirring piece of music, you will have to wonder, “Just what is this doing to my insides?”
Forgotten In Time
A Little HistoryAt 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 wrote 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 80s, I was faced with a dichotomy in the idea that we are not a body. I never understood this statement fully until I began to study quantum physics, which tells us that everything is energy and matter is not as solid as we perceive it to be. 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.
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.
I found this ancient scale to be part of a 6-tone scale sequence of electromagnetic 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, 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 - SomaEnergeticsTM.
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 half of the 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 dominant 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 on 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.
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.
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."
"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
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 its 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."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 use 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 clergyman asked what he could assist Dr. Puleo with:
"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."1Additionally, 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 origin 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 peculiarly 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 mathematic 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 & expressing yourself and finally, becoming more intuitive. 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-judgment, 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
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 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)…
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… Every one 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.
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 works of classical music – of Beethoven and Hyden, just to name two. 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.
Consequently, since all music in our contemporary world (from commercials to modern hymns and symphonies) has been composed utilizing the Twelve-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
What are the Ancient Solfeggio Frequencies?
Transformational Tuning Forks and CDs 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"Slightly Edited From http://www.lightwithin.com/SomaEnergetics/2About_Solfeggio.htm
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Video @ http://www.youtube.com/watch?v=tZrBRQn6K0A
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