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." ~
Poet Cathie Guzetta
The Ancient Solfeggio Frequencies comprise the primal sound fields
that formed the first expression of Source/God into manifestation--the
original divine blueprint of creation. Everything in manifestation
has within it this inside song of creation or core tonal energy
signature that is unique to it as an expression of the Divine.
The true music of the spheres is part of a 6-tone scale sequence
of electro-magnetic frequencies called the Original Solfeggio Scale.
Vibration and sound can be used, like most things, either with positive
intention or negative intention. Used positively, the chants and
their special tones were believed to impart tremendous spiritual
blessings when sung in harmony during religious masses. 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. Used with negative
intention, these tones were lost to manipulation and control through
the Churches. Entire hymn books and other spiritual books were burned
in “book burnings” to eradicate the knowledge that songs
sung in Latin or musical tones powerfully access deeper levels of
consciousness and pierce through limited thought structures that
lends insight beyond belief systems. With a direct line of communication
with Spirit what could be a greater threat to the church if it lost
its mediating power between the masses as the supreme word of Godhead?
A second modified scale was created to override our capacity to
connect with the original divine blueprint of creation. We’ve
all heard of do, re, me, fa, so, la, ti, do scale--the second modified
According to Professor Willi Apel, "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 Johannes - 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."
(From Healing Codes for the Biological Apocalypse" by Dr. Leonard
Horowitz, p. 345-6).
All music in our contemporary world
culture have vibrational limits since they have been composed by
using the tuning standard on the 12-Tone Equal Temperament Scale
rather than Just Intonation. These limits range from commercials,
to modern hymns and even symphonies lending idea of the confinement
that music has been relegated to. "Essentially, music has been
placed in a box of limitations" ~David B. Doty, book titled
The Just Intonation Primer as the result of the rigidity imposed
by the Twelve-Tone Equal Temperament 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."
The great Fathers Classical Music (Beethoven, Hyden, Vivaldi) is
based on Just Intonation and gives us a different rapport with time
and space that transports us into our higher chakras. Native American
chanting is often based on Just Intonation. Although tribal chanting
sounds somewhat monotone there is discovery that within the monotone
sound is multi-dimensional harmonics.
While an entire world system or matrix (Patrix) has been built upon
control and manipulation by the way we communicate thru language.
In effect language patterns translate into mathematical codes which
then serve as operational instructions for the body/mind-spirit
complex. Language and the sounds of tones contain the frequencies
of the original divine blueprint and are used to help restore the
divine blueprint into our body and consciousness. Although much
has been reframed to create a distorted frequency of truth and since
it is innate to make sound through chanting, toning, drumming what
is energetically placed within the Soul cannot long be hidden from
the masses. Cellular memory has been activated and the ancient Solfeggio
tones or frequencies were rediscovered by Dr. Joseph Puleo through
spiritual overlight and later collaborated with Dr. Leonard Horowitz
who also held a piece of the spiritual puzzle. This rediscovery
is described in the "The Healing Codes of Biological Apocalypse,"
The original Solfeggio scale is: UT, RE, MI, FA, SO, LA that has
the capacity to regenerate life according to frequency. For example,
the third note, frequency 528, relates to the note MI on the scale
and is derived 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!
The definitions of each of the original syllables, using hidden
entries from Webster’s Dictionary and the Original Greek Apocrypha,
the original frequencies can be used for healing alignment. For
example, these six healing tones via assimilation through resonance
can open the energy channels and sustain life force to flow freely
through the Human Energy System and therefore assist in restoring
others to a state of "Spiritual Wholeness." Healing has
become about our evolution by reconnecting our additional strands
of DNA and its repair, by turning grief to joy, making a connection
with Source to bring forth miracles, reconnecting with Soul Groups,
solving situations with wisdom and intuition, and finally returning
to spiritual order.
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
Research on Sound, Vibration
For more than 200 years, researchers have been validating the connections
of Sound and Vibrations on physical form.
1787, German scientist Ernst Chladni 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).
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.
1904, Hans Jenny, the Father of Cymatics, which
is the study of wave phenomena and the ability of sound to organize
and repattern matter. 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. He argued that physical
healing could be aided or hindered by tones-that different frequencies
influenced genes, cells, and various structures in the body.
Pert, PHD, American neuroscientist and pharmacologist
best known for her discovery of opiate receptors in the brain
Masaru Emoto-Miraculous Messages from Water How water
structure reflects our consciousness.
Claims that if human speech or thoughts are directed at water droplets
before they are frozen, images of the resulting water crystals will
be beautiful or ugly depending upon whether the words or thoughts
were positive or negative. Emoto claims this can be achieved through
prayer, music or by attaching written words to a container of water.