432 DNA Tuning and the
Nazi-ization of Music
by
Brendan D. Murphy
Not Quite Music to My
Ears (An Intro to “Nazi-Rockefeller Tuning”)
It’s blatantly obvious to me, after over a decade of
investigation, that humankind is the (largely unwitting) victim of a frequency
war on our consciousness that has been waged for decades, if not millennia. The goal has
clearly been to keep us as sheep-like, gullible, and subservient as
possible—through multifarious means. In modern history in particular, there has
been what Dr. Len Horowitz has referred to as the
strategic “militarization” of music.
This happened in 1939 when the tuning of A=440 Hz was adopted in
the world of music. In 1910 an earlier push to effect the same change was met
with limited success. Three decades later, the British Standards Institute
(BSI) adopted the A=440Hz standard promoted by the Rockefeller-Nazi
consortium—“at the precise time WWII preparations were being finalized by the
petrochemical-pharmaceutical war financiers.”[i]
Left: Eugenics proponents, David
Rockefeller (son of John D. Rockefeller), William Gates (father of Bill Gates),
and David Rockefeller
This was the year (1939) that A=440 became the international
standard. The American Federation of Musicians accepted the A440 as standard
pitch in 1917, and the U.S. government followed suit in 1920.[ii]
One must surely ask why Nazi propaganda minister, Joseph Goebbels argued for
this odd intrusion into musical creativity, persuading Hitler’s supposed
enemies in Britain to adopt this “superior” standard tuning for the
“Aryan/Master Race.” What did the Nazis (and their secretive US financiers)
have to gain from this?
It is interesting, also, to note that in October 1953, despite the
British and Nazi push for the arbitrary A=440 standard (which is “disharmonic”
vis à vis the physico-acoustic laws of creation governing reality), a
referendum of 23,000 French musicians voted overwhelmingly in favour of
A=432Hz.[iii]
Many, many musicians, through recent centuries have expressed their strong
preference for the A=432 reference pitch. “This tuning was unanimously approved
at the Congress of Italian musicians in 1881 and recommended by the physicists
Joseph Sauveur and Felix Savart as well as by the Italian scientist Bartolomeo
Grassi Landi.”[iv]
According to preliminary research, analysis, and professional
discussions by Walton, Koehler, Reid, et al., on the web, A=440Hz frequency
music conflicts with human energy centers (i.e., chakras) from the heart to the
base of the spine [the lower four]. Alternatively, chakras above the heart are
stimulated. Theoretically, the vibration stimulates ego and left-brain function,
suppressing the “heart-mind,” intuition and creative inspiration.[v]
Interestingly, the difference between 440 and 741 Hz is known in
musicology as the Devil’s Interval.
For maximum suppression of human consciousness, the frequencies we
naturally resonate with, and which are the most biologically and
psycho-spiritually enhancing, must be maximally suppressed. As far as many
guitarists are concerned, A=432 Hz seems to be the most practical, optimal, and
most bio-friendly resonant tuning we have, although many musicians have also
favoured A=444. (A=444 Hz belongs to a different scale, where C=528 Hz.)
Ancient Egyptian and Greek instruments have reportedly been found to be tuned
to 432 Hz.
But there’s more: the cochlea, the part of the inner ear that
converts acoustic impulses into electrical signals, has a seashell-like spiral
shape. A bilateral cross-section of the cochlea is mathematically describable
through the Fibonacci series (the Golden Ratio / Phi as manifested in nature).
Left: Cochlea
According to Chas Stoddard in A
Short History of Tuning and Temperament, this
fractality/recursiveness allows octaves to be decoded at the same point in each
layer of the spiral, and may therefore be why we can discern octaves at all
(meaning, that without this cochlea design, we would just hear pitch rising or
lowering, we would not be able to identify that, for example, 256 Hz is C, as
is 512 Hz also C).[vi]
The octave concept would be almost meaningless and sonically undetectable to
us.
Somehow, Austrian genius visionary Rudolf Steiner (1861-1925) was
on to all of this. He said: “Music based on C=128hz (C note in concert A=432hz)
will support humanity on its way towards spiritual freedom. The inner ear of
the human being is built on C=128 hz.” The fact that Phi/Golden Ratio is so key
in morphogenesis (see TGI 1) in humans and throughout nature suggests that
there may be an interesting yet little-known relationship between the galactic
harmonic of 432 that shows up in our solar system and the Golden Ratio.
At least
A=432 is bio-neutral at worst, and is widely considered bioenergetically
enhancing or healing if employed intentionally. Meditation music at 432 Hz is
certainly relaxing and soothing, though I don’t consider there to be anything
“transformative” about it, and transformative measures are what we so
desperately need to intercede in our collective path at this time. As a
musician and someone who uses the Solfeggio frequencies to perform DNA and
kundalini activations for people who seek those healing and evolutionary
services, I would actually go so far as to argue that, at this point in our
history, the Solfeggio C at 528 Hz and not 512 Hz may be even more valuable to
us in our search for reconnection to Self and Source—and most definitely
facilitates people’s unplugging from the Matrix. It is widely associated with
DNA activation, repair, and human transformation. See here for more on this topic.
Note the visible light spectrum and colour wavelengths (left).
Look for 528 and notice where you land: in the region of the “green ray”,
esoterically speaking. The higher harmonic of the green ray/frequency is
absorbed and metabolised by the heart chakra vortex.
It is no
coincidence that the wavelength of visible light at 528 nm is also green. The
one is a harmonic of the other. If humanity needs to supercharge anything in
our bioenergetic anatomy at this point, it is surely our heart intelligence,
which conduces to compassion, empathy, and intuition. (We have more than enough
of the cunning of the ego-driven cephalic intelligence.) Here lies a clue to
the potency and importance of C=528 but I don’t want to digress too far.
To return to the main thrust now. Maria Renold, in her book Intervals Scales Tones and the Concert
Pitch C=128hz, claims conclusive evidence that A=440Hz tuning
(above scientific “C” Prime=128/256/512 Hz, where A=432 Hz) “disassociates the
connection of consciousness to the body and creates anti-social conditions in
humanity.” Modern “Equal Temperament (ET)” tuning was supposedly the excuse for
musicians to play consonance, but, according to researcher Brian T. Collins
(who strongly endorses Renold’s book), it actually diminishes perception of
tone and resonant harmony.[vii]
Many people appear to endorse the view that, while A=440 music is
more exciting (or aggressive, for some), it is more mind-oriented and
disconnected from the human feeling centres, particularly the heart (which has
by far the largest EM field of all bodily organs, including the brain, which it
can actually entrain). Disconnecting the heart from the brain is—as history
(and our present condition) shows us—catastrophic on a planetary scale, for
many reasons, but fundamentally, it disconnects us from our innate wisdom and
compassion as sentient beings, thus disconnecting us from each other and the
other intelligent beings we share this planet with (not to mention the planet
itself which is a living intelligence).
Ancient tuning practices employed the “Just Intonation” system of
tuning. It featured “pure intervals between every note that were mathematically
related by ratios of small whole
numbers leading to a much purer sound.” From about the 16th
century onwards, “Twelve-Tone Equal Temperament” tuning, according
to Joachim Ernst-Berendt, commenced the mistuning of all consonant
intervals except
the octave.[viii]
As a guitarist (who writes music primarily on an electric guitar), I prefer to tune up to A=444/C=528
rather than further down-tuning to 432 (I already drop a full step down on the
electric and one of my acoustics and don’t want to lower string tension any
further). 528 derives from the ancient Solfeggio scale, as re-discovered by Dr.
Joseph Puleo, a co-researcher and co-author with Dr. Len Horowitz of the
well-researched and confronting book Healing
Codes for the Biological Apocalypse (read it for proof of the Nazi
connection to 440 tuning). At A=444 I can feel the resonance almost on a
cellular level—the vibrations go right through me, and the guitar feels almost
like a part of me. The tone is beautiful and bright; highly resonant. This is
not the case when I use 440 Hz (standard Western tuning). Electric guitars,
lacking a resonant cavity, don’t make the distinction as easy, however, that doesn’t
mean that our cells don’t appreciate the subtle difference. More on the
Solfeggio scale and why 528 is so important in a coming article.
The Curious Case of 432
- Diameter of sun = 864,000 miles (432 x 2)
Interestingly 8+6+4 = 18 (1+ 8) = 9 the number of completion
- Diameter of moon = 2,160 miles (5 x 432 = 2,160)
2+1+6+0 resolves to a 9, as does 4+3+2 = 9 and 5 x 9 = 45 and 4 +
5 = 9 as well.
- Precession of the Equinoxes of Earth = 25,920 years (60 x 432)[ix]
2+5+9+2+0 also equals 9, while 6 x 9 = 54 and 5 + 4 = 9 also.
We see above an interesting relationship between the 432 and the
number of completion arising as we look at this material. The numbers suggest
that the “universal” or solar constant of 432 has to do with the “completion”
(or completeness) of the manifest material world.
Interestingly, the leading acoustician in Beethoven’s time was
Ernst Chladni (1756-1827), the godfather of cymatics. His music theory textbook
explicitly defined C as 256/512 Hz, the “scientific” tuning. (The A above this
C in this standard scale is 432 Hz.)
Perhaps this is to do with 432 squared—186,624 (1+8+6+6+2+4 = 9)—being
within 1 percent accuracy of the speed of light, (186,282 miles per second,
which also resolves to a 9!). The square root of the measured speed of light is
431.6(!) By deductive reasoning, we might speculate that “notes tuned relative
to A432 harmonize directly with the light body [auric fields] allowing the
vibrations to penetrate, and through entrainment, bring your energetic essence
into balance. Entrainment is the tendency for a strong vibration to influence a
weaker vibration.”[x]
Inversely, A=440 tuning may produce a dissonant or “agitative”
effect on the aura/mind—and anything that disrupts/disturbs DNA will create
contraindications in the aura due to DNA’s innate sound-light translation
mechanism. The human aura, of course, is the closest thing we have yet been
able to point to as “consciousness” or “mind” in the manifest measurable world,
as I show in The Grand Illusion – Book
1.
Using 256Hz as the reference for C (where A=432), all occurrences
of C are a power of 2. Interestingly, the Schumann resonance—earth’s
electromagnetic “heartbeat” existing within the atmosphere between the earth’s
surface and our ionisphere—ranges from about 7.83 to 8 Hz on average—very close
to (and even the same as) 23. This isn’t terribly surprising if you
consider the frequency of earth’s axial rotation:
“Earth’s ‘pitch’ (cycles per second/Hertz) as it rotates is G, a fourth below
the theoretical C that lies 24 octaves below middle C, when C=256Hz. So
C256/A432 is in tune with the Earth’s rotation,”[xi]
which is “in tune” with the speed of light, which is “in tune” with the
diameter of the sun, which is “in tune” with the diameter of the moon, which is
“in tune” with the precession of the equinoxes! That’s a lot of harmony, which
is exactly what we should expect from a holofractal (scaled) plasma-based
universe.
C#=544 Hz, NOT 554 Hz!
A.K.A The Breakthrough that Didn’t Quite Break Through
In a ground-breaking research collaboration initiated in the late
1980s, biologist David Deamer and composer Susan Alexjander sought to
directly ascertain the frequencies emitted by the bases of our DNA (A, G, C,
T). They did this by directly measuring the infrared absorption spectra of DNA
molecules. These DNA frequencies were then arranged as “scales” of tones, and
subsequently used as the basis for Alexjander’s musical compositions.
The atomic bonds within these base molecules “bend, stretch, and
rock upon absorbing infrared light with a specific frequency related to the
energy and strength of the bond and the mass of the nucleus of the atom. A
tighter, smaller bond from, say, hydrogen, will absorb light with a higher
wavenumber (number of waves per centimeter), and a higher ‘note’ in the
infrared spectrum.” A spectrophotometer was used to ascertain the frequencies
of the different bases. Inside this device, infrared light with frequencies
ranging from 600 to 3000 wavenumbers (in units of cm-1) was passed
through each sample, being absorbed at specific frequencies, which the
instrument plots as a spectrum. Once the wavenumber was identified, it was
converted to hertz using the following equation: Frequency (Hz) = velocity (speed of light)
x wavenumber
Because this process involves infrared light—not
sound—frequencies, huge numbers (megahertz) were obtained, that, if translated
directly into hertz would be far beyond human hearing (and thus useless for
creating a musical composition, as intended). Recognizing that if they were to
halve the numbers they were getting—and keep halving (decreasing them by
octaves at a time) until the number fell within the audible range of sound
frequencies, they would end up with the same
notes only at much lower (audible) octaves. Each DNA base yielded
15 – 18 notes; 60 in all. Interestingly, it appears that none of the bases
emitted an A#—it was the only note of the diatonic scale missing.
Once this data was collected, it was converted into a human
hearing range and programmed into a Yamaha DX7 IID synthesizer. They needed to
use a “special electronic keyboard…because the tunings that were derived were almost
all microtones” (tones smaller than a regular semi-tone, the smallest interval
generally used in Western music).[xii]
This presented Alexjander with a formidable challenge regarding creating actual
musical compositions out of these tightly-packed clusters of DNA base notes. At
first, there was no seeming organization or order to what she was seeing or
hearing, when experimenting with the 60 different microtonal DNA notes on her
synth.
Then, after weeks and weeks of experimentation with different
sound combinations, a “tonal center” began to emerge. One pitch in particular
seemed to lend meaning and coherency to the challenging microtonal morass—a
pitch common to all four bases: C#(!)
Adenine: 545.6 Hz
Guanine: 550
Thymine: 543.4
Cytosine: 537.8
Average DNA Hz = 544.2
This is where their project gets particularly interesting for
those of us interested in sound-based healing, Just Intonation tuning, and the
acoustic laws underlying creation.
You see, in today’s bastardized standard tuning (Equal Temperament),
C#=554 Hz/A=440, and C=523. Look carefully at the frequency values of each DNA
base above and you see that all four of them are fairly close to being tuned to
this standard tuning (where A=440, the “Nazi tuning”). This C# “is positioned
almost exactly in the center of the absorbency rates, and shows up as the
average. This C# seems to act as a balancer for the entire spectrum of
frequencies,” as Alexjander put it. She further observes that most of the
gongs, bells, and drums of the non-Western world are tuned to this C# tonal
center—as if we are collectively trying to subconsciously tune to something (natural cosmic
harmonics).
What made my jaw drop, however, was not that the four DNA bases’
tuning averaged out at 544 Hz, fairly close to standard tuning where C#=554 Hz
(a discrepancy of only 10 Hz). It was, rather, the fact that when A=432 Hz, as in the ancient Just Intonation tuning system based on nature
itself, C# is precisely 544 Hz—exactly what emerged as the dominant, central “organizing” DNA
base frequency in Alexjander and Deamer’s research! Astonishingly,
Alexjander and Deemer have apparently missed this crucial correlation.
Apparently we have 432 DNA!
A432 Hz is the tuning of the Cosmic Keyboard or Cosmic Pitchfork,
as opposed to the A440 Hz modern “standard.” It places C# at 136.10 Hz [544 Hz
four octaves higher] “Om,” which is the main note of the Sitar in classical
Indian music and the pitch of the chants of the Tibetan monks, who tell us “It
comes from nature.” – Dameon Keller[xiii]
Now we are seeing a real basis for precisely why sound healing
works—on every level of our beingness. It is a harmonic rule that whatever
octave you are toning at, it will automatically resonate the other octaves of
that note. So, even if you are toning vocally within the limited human vocal
(or hearing) range, and you are toning into a chakra, if you have selected the
“right” note, it can and will correct cymatic deformations in that chakra, even
though the magnetic vortex of said chakra will be spinning at a frequency (and
harnessing light at frequencies) far beyond the range of regular sense
perception, and thus, invisible to most people. The law of harmonic resonance
means that you will immediately affect light/matter on many octaves of the same
note simultaneously. Because sound (vibration) organizes light/matter into
form, it is potentially the most potent tool in a healer’s arsenal. Sound does
strange and exotic things other tools cannot; “junk” DNA, for example responds
to sound—codons can be turned on or off using acoustic vibrations, and our cell
membranes (which are the “brains” of the cells) have antennae that detect sound
vibrations and can pass them into the cellular matrix.
According to clairvoyant Barbara Brennan, former physicist and
founder of the Barbara Brennan School of Healing, when she uses her voice in
this way for healing chakra deformities, the chakra will stand up and spin
correctly almost immediately. From there, it only takes a few seconds once a
chakra is corrected on the first/etheric level to then become the correct color
on the second level (emotional body) of the field.[xiv]
Well known biologist Bruce Lipton has stated that, aside from the
better known “lock and key” cell receptor sites, there are also antenna-like
structures (“primary cilium”) on the cell membranes in our bodies that respond
to vibrational frequencies:
Receptor antennas can also
read vibrational energy fields such as light, sound, and radio frequencies. The
antennas on these energy receptors vibrate like tuning forks. If an energy
vibration in the environment resonates with a receptor’s antenna, it will alter
the protein’s charge, causing the receptor to change shape…Biological behavior
can be controlled by invisible forces as well as it can be controlled by
physical molecules like penicillin…[xv]
Left: the ciliated
respiratory mucosa.
Lipton’s material illustrates something about the mechanisms
involved in epigenetic change, in this case epigenetic shifts triggered by
sound. “Toning,” as intuitive channeller Barbara Marciniak is informed by her
apparently interdimensional Pleiadian muses, “is a key to releasing stored
knowledge. It unlocks a doorway and allows information to flood into your
body…[I]n a very subtle way, it changes your perceptions.”[xvi]
Given that our DNA is tuned to the harmonic laws of creation—as
seen in Just Intonation tuning—at C#=544 Hz, it makes complete sense that
healing instruments like Tibetan sound bowls may be tuned to this natural
scale.
I’ll be back later to share more about C=528 Hz and the importance
of the Solfeggio frequencies. In the meantime, please remember that you are
nonlocally and gravitationally connected to the resonant frequencies of the
cosmos and that no one stands alone “outside” of the cosmos or cut off from
everything (though they may feel like that at times). We’re all part of this
huge resonant system, participating in dynamic feedback loops with intelligent
subsystems such as the sun, the moon and the earth. Our sense of separation is
strictly a brain-based “grand illusion.”
About the author
Co-founder
of Global Freedom Movement and author of the critically acclaimed “mind-blowing
masterpiece” THE GRAND ILLUSION: A SYNTHESIS OF SCIENCE AND SPIRITUALITY,
Brendan D. Murphy is a leading expositor of the new paradigm of integrated
science and spirituality/sovereignty, and has been referred to as the “Chomsky
of the spiritual movement.”. He is also a passionate advocate of accelerated
conscious evolution through sound-based DNA and kundalini activation.
“Enough of the slave species legacy we’ve been playing out for
millennia! It’s time to rediscover sovereignty, infinite consciousness and our
multi-dimensional selves. Evolution is calling. Will we answer?” Get activated
here: www.brendandmurphy.net
[i] Len Horowitz, Musical Cult Control,
http://www.medicalveritas.org/MedicalVeritas/Musical_Cult_Control.html
[ii] Gary Meisner,
http://www.goldennumber.net/music/
[iii] Mark Brewer, Music of the Spheres: A Case
for A=432Hz, http://markbrewerharpist.com/blog/2013/02/music-of-the-spheres-a-case-for-a432hz/
[iv] The
Secret Behind 432Hertz Tuning, http://attunedvibrations.com/432hz-healing/
[v] Horowitz, op. cit.
[vi] Brian, T. Collins, The Importance of 432Hz
Music, http://omega432.com/432-music/the-importance-of-432hz-music
[vii] Ibid.
[viii] Karol Jankowiak, Solfeggio Frequencies Set
Body into Full Harmony,
http://www.wakingtimes.com/2014/02/01/solfeggio-frequencies-set-body-into-full-harmony/
[ix] www.mythsdreamssymbols.com/432.html
[x] Brewer, op. cit.
[xi] Ibid.
[xii] Susan Alexjander, The Infrared Frequencies of DNA Bases,
as Science and Art,
http://www.oursounduniverse.com/articles/IEEE.html
[xiii] Dameon Keller,
http://dameonkeller.wix.com/esotericartschicago#!sound-&-vibration-and-color-&-light
[xiv] See Brennan, Hands of Light, Bantam, 1988.
[xv] Bruce Lipton, The Biology of Belief, 2005
[xvi] Marciniak, Earth, 68-9.
From Global Freedom
Movement @ http://globalfreedommovement.org/432-dna-tuning-and-the-nazi-ization-of-music/
For more information about Solfeggio frequencies see http://nexusilluminati.blogspot.com/search/label/solfeggio%20frequencies
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