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Music of the Spheres
The Six Ancient Solfeggio Frequencies

By Rev. Alisa Battaglia


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." ~ 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 tuning scale.

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," by Dr. Leonard Horowitz.

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 and Form

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.

1970, Candice Pert, PHD, American neuroscientist and pharmacologist best known for her discovery of opiate receptors in the brain

1999, Dr. 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.

©Alisa Battaglia, 2009

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