Detoxing with tones and codes

KJN

Jedi Council Member
FOTCM Member
KJN said:
Since October 2009, I have been detoxing using a process of tones and codes. As I understand it, the tones create a conduit to pull in the frequency of the number codes to the energy field. Each week I connect by phone or visit with a practitioner who reads my energy fields, muscle tests, discusses the detox particulars and my ongoing physical status. She then assigns me new numerical codes and I listen to tonal vibrations that trigger the next stages of repair and areas of detox. Toxicity is removed in layers and thus I have revisited many arenas many times. We also work on nutrient uptake and food sensitivities. Results (to test if the process works) have been verified by hair sample testings from the initial individuals participating in this detox method.

When I began this process, I had almost no immune functions to speak of and my body was rejecting most of my diet. During this process I have been relegated to similar food choices as the forum’s food plan. According to my weekly notes, so far my detox has included layers of: cadmium, mercury, arsenic, heavy metals, cortisol, pesticides, parasites, DDT, copper and zinc balances, old vaccines, old virus, pathogens, headache causes, candida and inflammation. I have worked on repairing: adrenals, GI tract, hormones, liver, brain function & repair, chakras, emotional balance, central nervous system, stomach, blood pressure, amino acids and protein balances, kidneys, vascular repair, thyroid, circulation, joints, lymphatic system, meridians, lungs, sinus, bone repair, sleep, thymus gland, spleen, chronic fatigue, pineal gland, and muscle connective tissue. This seems like a lot but each week there are groups of systems involved and groups of toxic offenders that specify each layer according to the dictates of my body. It isn’t easy––at times the detox symptoms are awful––but I am currently a little more than halfway through the process. Sound is a powerful healer and is based on “sound” principles––a viable application and research topic (I have notes). After reading the recent SOTT article about toxic substances and their devastating effects, I am most appreciative of this opportunity to restore my body and that the Fellowship is also on board with this important task.

The above is from my Newbie introduction and a few members inquired as to posting more information on the topic. Here is a bit of background on my particular process:

My practitioner began as a patient. She did all the usual and recommended cleanses and saunas and fasting which didn't make a difference in her symptoms. She invented the process I use and it is not currently documented (will have it documented Spring-Summer 2011). She calls it Sound Therapy or Sound Healing and it has taken 5 years to develop it. It grew out of an experience with solfeggio tuning forks and she thought they might do more than just sound. She tried them with sacred symbols, sacred alphabets and had unsatisfactory results. The sacred numbers, however, were the most powerful. Her initial ideas came from a book by Debbie Nambudripad, "Say Goodbye to Illness" and the fundamental idea to shift body energies. In the book it describes acupuncture techniques in relation to particular vials of substances, like Vitamin B, to move energy. But the book doesn't go into the detox arena. Then she looked at absorbtions and allergies--leading to meridians and blocks--and to frequencies that interrupt or address the imbalances. Her assumption: a frequency generator that could monitor would show that each code is an energy code with a numerical equivalence of the frequency. By adding frequencies, she could then graph out or use Kirlian photography to see the changes in the field or the uptake of energies by the different chakra colors and their intensities. She has, in the past, lab-tested hair strands to verify energy and chemical changes. She uses the solfeggio "C" scale to do balancing. The tones create a conduit to pull in the frequency of specific codes to the energy field, which trigger specific balancing and detox adjustments. She also uses the same process on animals. And that, folks, is all she told me.

However, I have done some homework on the basic premises of this method and it might afford you a better concept.
Background information from various sources as indicated (edited to stay on subject):

“The Subtle Body, An Encyclopedia of Your Energetic Anatomy,” Cyndi Dale, Sounds True, 2009

(Pg. 3)
Everything in the world is made of energy, which can be defined most simply as “information that vibrates.”

(Pg 142-143)
Does it All Start With Sound?
...many shamans of yesteryear believed that sound was the origin of everything. They knew how to coalesce pictures of reality out of sound, even to effect genetic healing... Sound has been considered so primordial that...the solfeggio was kept secret for hundreds of years. The solfeggio is a six-note scale and is also nicknamed “the creational scale.” Traditional Indian music calls this scale the saptak, or seven steps, and relates each note to a chakra. Do (396HZ), Re (417HZ), Mi (528HZ), Fa (639Hz), Sol (741HZ), La (852HZ). Mi has actually been used by molecular biologists to repair genetic defects.

Some researchers believe that sound governs the growth of the body...the ear’s first in utero function is to establish the growth of the rest of the body. Sound apparently feeds the electrical impulses that charge the neocortex. High-frequency sounds energize the brain... Low-frequency sounds drain energy and high-frequency sounds attract energy...

Some scientists go a step further and suggest that sound not only affects the body but also the DNA, actually stimulating the DNA to create information signals that spread throughout the body. Harvard-trained Dr. Leonard Horowitz has actually demonstrated that DNA emits and receives phonons and photons, the electromagnetic waves of sound and light. As well, three Nobel laureates in medical research have asserted that the primary function of DNA is not to synthesize proteins, but to perform bioacoustic and bioelectrical signaling. [A team of researchers] showed that superposed coherent waves in the cells interact and form patterns first through sound, and secondly through light. This idea dovetails with research [on] torsion energies...[that] demonstrated that chromosomes work like holographic biocomputers, using the DNA’s own electromagnetic radiation to generate and interpret spiraling waves of sound and light that run up and down the DNA ladder...and used language frequencies such as words to repair chromosomes damaged by X-rays. [Their research] concludes that life is electromagnetic rather than chemical and that DNA can be activated with linguistic expressions––or sounds––like an antenna. In turn, this activation modifies the human bioenergy fields, which transmit radio and light waves to bodily structures.

Sound Pathways
Sound, one of the basic mechanical energies, is present everywhere and serves as a healing mechanism... This is because of its universality, both physically and subtly.

Every part of the body, from cells to the toes, moves. Movement produces sound. The resulting sound waves and fields help regulate more than 50 percent of the body’s biological processes. This is accomplished through the ligand/receptor interaction... These interactions occur on every cell surface through sound frequencies between 20 and 20,000Hz, the range of human hearing.

There are special sound pathways in the body, however, that convey sound from site to site. Sound enters through the cranial bones and hearing apparatus and travels through the body via the connective tissue. It uses water to speed vertically through the body at nearly five thousand feet per second. (Pg. 51) (Pg. 50) The connective tissue is crystalline in formation; the collagenous molecules that encase the organs are liquid crystals and the other, firmer tissues are considered solid crystals.

(Pg. 401)
Raise your hand. Though inaudible to your everyday senses, the invisible energy of this movement sounds a note. Certain notes or tones can be harmful. Very low infrasonic frequencies can collapse internal organs; ultrasonic energy can decalcify and soften bones. But sound can also heal. In the 1970s, researcher Fabien Maman sounded a tuning fork on a cancer cell. The cell dissolved.

Sound healing employs sound to create balance and healing. As an energy medicine, it is a vibrational therapy that impacts all levels of the human self––as well as all living organisms. Since water conducts sound four times faster than air, it can be a useful entrainment (joining of vibrations) tool - especially for our bodies, which are 70% water.... It is frequently used in chakra and auric field therapy, but has also been used by allopathic practitioners for autism, insomnia, and other conditions, and is now introduced in varieties of acupuncture.

This is the science behind sound therapy: constructed of electrons, protons, neutrons, and subatomic particles, each atom is surrounded by electrons that move at over six hundred miles per second. Motion creates frequency, which creates vibration, which in turn generates sound. Vibration is one-half of our energy quotient, therefore it is information. ... sound information forms patterns out of matter. Therefore it must contain the information needed to form these patterns.

Sound moves in waves, and in turn creates fields. Particular sounds are passed into, out of, and through the body through molecules, which act as transfer points for information. A molecule can literally take on the vibration of an initial pulse and pass this vibration on to its neighbors, which is why sound can shape and change the body and its fields. Water molecules, formed from crystals, will actually shape and reshape according to the vibration of a sound or the information coded into it–-for better or worse....

One of the most important issues in relation to sound is that of resonance, which occurs when one object, vibrating at its own unique frequency, begins to vibrate at the same frequency as another object. When multiple systems vibrate or resonate together, the result is called entrainment....Tissue, wood, and bone––all sorts of matter will resonate if struck by a vibration within its frequency range.

Every single person generates his or her own personal harmonic, or a vibratory range that is particular to the self... A sympathetic vibration is one that suits the living being that is in its range. Its effect is not produced by intensity, but by pitch. The inaudible humming of a fluorescent light or the thought of a person sitting nearby––or even a thousand miles away, but connected by the quantum field––can disturb a living being’s vibratory rates and therefore, individual energetic fields. (The reason why artificial electromagnetic fields and other forms of geopathic stress are so dangerous.)

Appropriate music or sounds can help restore the natural vibrations of a living being and therefore health, as long as these vibrations resonate with the natural vibration of that being... Everything in the world functions at an optimal frequency or has its own sound––even a virus. When a person is operating at optimal health, his or her ”tones” are attuned with each other and aligned with the external world. Any stress-related condition––an emotion, negative belief or event, or pathogen––can be labeled as an “invading sound” or frequency that can disrupt the body’s natural frequencies or vibrations.

Sound therapists work in a number of ways, but ultimately must diagnose the invading frequency. They must then determine which frequencies will eliminate the invading force, strengthen the person’s natural frequencies, or compel the two forces (the invading and the individual’s frequencies) to work together in a healthy way...

(Pg. 364)
Spin theory describes best the angular momentum carried by a particle... All vibrating particles or waves––or wave particles, such as photons, the units of light––have spin. That means that every sound has a particular spin. And so does a collection of sounds.

(Pg 368)
Kinesiology (motion) - a form of biofeedback
Applied kinesiology analyses the chemical, structural, and mental aspects of the body’s current state. It takes into account the following key functions of the body: nervous system health, neurolymphatic system, neurovascular system, cerebral-spinal fluid, acupuncture meridians. ...[A] practitioner concentrates on a subject and then tests the muscular strength of a client...depending upon the system––muscular weakness signifies an imbalance...and muscular strength indicates a balance.
____________________________
Excerpts from another source and edited for essentials:
http://www.redicecreations.com/specialreports/2006/01jan/solfeggio.html
Special Reports
“Forgotten In Time: The Ancient Solfeggio Frequencies”
2006 01 21
From: lightwithin.com/SomaEnergetics

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 [now hidden, editor’s note]. The chants and their special tones were believed to impart tremendous spiritual blessings when sung in harmony during religious masses.

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!

...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.

Dr. Robert Girard from California on DNA Activation: His work focused on using certain sounds and frequencies to activate DNA...using the frequency 528Hz [“C”] to repair human DNA. [T]he regular "C" ...(which is from the diatonic scale of do, re, mi, fa, so, la, ti, do) was not the 528 Hz frequency "C".... [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, versus those in general use today.

Ancient Solfeggio Frequencies:
[T]his ancient scale [is] part of a 6-tone scale sequence of electro-magnetic frequencies called the Original Solfeggio Scale. ["The Healing Codes of Biological Apocalypse" by Dr. Leonard Horowitz]. These particular frequencies were rediscovered by Dr. Joseph Puleo.

[A] technique [was developed called] 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.

Energy and Relationship
[Physicist] Dr. Fred Wolf, ...stated "Everything is consciousness." He further noted, "When you are observing an object, on some level the object is observing you." ...Apparently, observing something changes it on some level – that the observer, and the observed are one.

[T]he Solfeggio tuning forks...are energy, they’re vibration, they’re frequency – the client is vibration, frequency and energy – [the practitioner] is 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, [“Father of Acoustics”] 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 Chladni figures.(1)

In 1815, Mathematician Nathaniel Bowditch followed up on Chladni’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." [In the course of] Dr. Hans Jenny’s work, pictures 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.

Jenny concluded that there 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.

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."

[E]nergy and vibration go all the way to the molecular level. [Pert] states that we have 70 different receptors on the molecules and when vibration and frequency reaches that far they begin to vibrate. 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 through 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 they are just different ways that people are accessing deeper levels of themselves. [T]he Solfeggio Tuning Forks are an even purer ways of doing that with positive intention.

1 "Healing Codes for the Biological Apocalypse" by Dr. Leonard Horowitz, p. 345-6
2 Ibid.
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: "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 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:
[T]hese 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.

...Just Intonation can be found in many of the [works by the] great Fathers of Classical Music. They did not use this 12-tone temperament and...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" of 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)

Other Resources:
# 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/SomaEnergetics/2About_Solfeggio.htm
Related: Do Not Offend Water - It Remembers Every Word You Say

Evolution linked to Spiritual Renaissance: DNA Called “Antennae to God”

The Amazing Holographic Universe

Water Balancing Symbol Experiment

The Infrared Frequencies of DNA Bases, as Science and Art

DeoxyriboNucleic Acid (DNA)


© Red Ice Creations

I bring this process and research to the forum as an offering, hopefully of some use, and to maybe connect a few more dots. I am not sure how my detox method would work for a group since the adaptation I am using depends on my individual body responses each week to indicate the protocol for the next, but if there is interest there is probably a way.

(Some of the above research seems to have some connects into the Wave and C’s material, even the 3-6-9 which we count out in our breathing routines and references to spin theory... )

I hope this is useful information. Thank-you for the request.
Best regards always,
KJN



admin edit: fixed text to remove conflicting text/BB code to remove the 'striket hrough' effect across many paragraphs
 
Thank you KJN. Interesting stuff. For me I'll have to do some reading and research to understand some of the concepts and I am sure more knowledgeable members will chime in. :)
 
KJN, This is fascinating! I have been reading about this all day and have started downloading the tones. Thank you for sharing this. :)
 
Vulcan59 said:
Thank you KJN. Interesting stuff. For me I'll have to do some reading and research to understand some of the concepts...

Same here. Thanks for sharing this, KJN. :)
 
Thanks a lot KJN, that's quite a captivating read here. :flowers: :)
I'll be definitely be doing some reading into the solfeggio scale and I am looking forward to hearing more from you on the detox aspect.
 
This subject is of interest to me, so I spent a little time looking into it. I'm not suggesting there is nothing to it, but I haven't been able to dig up enough solid evidence to convince me, and along the way I've found some additional reasons to be skeptical, at least with regard to the history of this scale.

First, the Italian word 'solfeggio' refers to a system of teaching singers to sight-read music by giving a syllable to each note. Julie Andrews was singing a 'solfeggio' scale in 'Sound of Music'. So calling this particular scale 'The Ancient Solfeggio Scale' seems a bit misleading. Solfeggio could be used with any scale, and doesn't refer to any particular order of notes. The origin of solfeggio (usually referred to with the French word solfege- solfeggio being the Italian translation) as a teaching technique is attributed to a monk, Guido d'Arezzo, from the 11th century, and is associated with the origins of Gregorian style chants. It may also be of note that this tradition involved human voices, not instruments.

The birth of 'The Ancient Sofeggio Scale' seems to have taken place in the mind of Dr. Puleo, who received it via divine inspiration, and by decoding hidden messages in the Bible. From what I gather, the references to Solomon probably come from there. Considering there is ample evidence to cast doubt on the veracity of the Solomon story (see Secret History of the World), some actual data to back this claim is missing. There is also some confusion here in mixing what were originally tones produced by voices with sound frequencies generated as 'tones' by lab equipment, musical synthesizers or tuning forks.

Additionally, David Icke, Ken Adachi and Project Avalon all refer to the 'Ancient Solfeggio Scale', which is a cause of some concern. Plus the first several pages of search results on this subject link to sites which use this fuzzy history to promote sales of expensive tuning forks and other items for personal healing.

Here is a 'history' of the Solfeggio which seems to be repeated by many of those promoting these ideas. This one is from _http://www.soundsofwonder.com/solfeggio.htm:

History of the Solfeggio

There are three levels to the solfeggio tones: the Earthly or Archetypal, the Divine or Heavenly, and the Universal or Cosmic. Within each level there are two components, the Masculine and the Feminine. The Feminine is made up of nine tones in each level while the Masculine is made up of six tones. When all the tones of a component are played they create a harmonic or the tone of Oneness. In the Feminine component this known as the “Eden Frequency.” In the Masculine component the tone of Oneness is known as the “Gateway of Metatron.”

The history of the solfeggio tones begins with King David, who then passed the secrets on to Solomon. Sometime after Solomon, the tones were lost. David was given six tones, which he created with strings on his lyre. These tones are all used with the psalms, also created by David. The mathematics of the tones matches the mathematics of the psalms (gematria). Solomon used the tones and the gematria in the creation of the Song of Songs, also a psalm. This was considered the most sacred of the psalms.

During the creation of Gregorian chant, the solfeggio tones were rediscovered, these based on five notes. Later, a sixth note was added. These were based on the discoveries of Pythagoras and his harmony of the spheres. These also were later lost. In the 90s, Dr. Joey Puleo was given the secret of the gematria in a vision. He saw the actual frequencies of the solfeggio during appearances of Jeshua and an angel that Dr. Puleo did not name. After the turn of the millennium, Joseph Crane was told in an appearance of Archangel Michael that two solfeggio scales existed — one profane and one sacred. The sacred has been known as the “secret solfeggio” or “Sacred Solfeegio.” Later, Michael gave Joe Crane six of the frequencies to the Sacred Solfeggio to be used in healing. And more recently he told Crane that a subset of the frequencies existed, called the Divine Masculine frequencies.

In 2009 the code of both solfeggios was cracked by G.W. Hardin, through the guidance of Archangel Gabriel, and shown to be linked together mathematically. During the process, yet a third set of solfeggio frequencies showed up in the mathematics. Using what is called the Pythagorean skein, the third set being made up of the sum of the first two sets. What also showed up was an entire fractal system of solfeggios that affect specific parts of the bodies. These frequencies and the Solfeggio Matrix mark the return of the solfeggio tones to humanity. The tones are currently being played worldwide to heal and advance the planetary consciousness. It is strongly recommended to play these tones only with loving intent for oneself and for others.

Again, I am not challenging the possibility of something real being involved in the use of sound in healing, but rather probing the claims being made to substantiate it, and seeking more data.

And to toss another couple of ideas into this probe, there is the following from Gurdjieff, who did quite a bit of experimentation with music and sound. All the different ways of generating scales can be expressed as mathematical equations with all their various properties and types of relationships between the different notes, and these relationships are the same regardless of which frequency is used as the basis. Arguments can be made forever about the merits of each one. Is there just one set of 'tones' or frequencies which produces objectively verifiable results at all times under all conditions? Or is this, as Gurdjieff seems to be suggesting, also a variable?

This is from 'Meetings With Remarkable Men' p. 127-34, and in this excerpt Vitvitskaia is talking to Gurdjieff about her search for objective music:

To my questions Vitvitskaia finally replied that the cause of her state was,
as she expressed it, that 'damned music', and she asked me if I
remembered the music of the night before last.
I did indeed remember how all of us, sitting in some corner of the
monastery, had almost sobbed, listening to the monotonous music
performed by the brethren during one of their ceremonies. And although we
had talked about it afterwards for a long time, none of us could explain the
reason for it.
After a little pause Vitvitskaia began to talk other own accord, and what she
said about the cause of her strange state took the form of a long story. I do
not know whether it was because the scenery through which we were riding
that morning was indescribably glorious or whether there was some other
reason, but what she then told me with such sincerity, I still remember
almost word for word even after all these years. Each other words was so strongly
imprinted on my brain that it seems to me I hear her at this moment.
She began as follows:

....I devoted myself very zealously to studying the theory of music, not only
because I wished to please my benefactress but also because I myself had
become greatly attracted to this work, and my interest in the laws of music
was increasing from day to day. My books, however, were of no help to me,
for nothing whatsoever was said in them either about what music is, or on
what its laws are based. They merely repeated in different ways information
about the history of music, such as: that our octave has seven notes, but
the ancient Chinese octave had only five;
that the harp of the ancient Egyptians was called tebuni and the flute mem;
that the melodies of the ancient Greeks were constructed on the basis of
different modes such as the Ionian, the Phrygian, the Dorian and various
others; that in the ninth century polyphony appeared in music, having at
first so cacophonic an effect that there was even a case of premature
delivery of a pregnant woman, who suddenly heard in church the roar of
the organ playing this music; that in the eleventh century a certain monk,
Guido d'Arezzo, invented solfege, and so on and so forth. Above all, these
books gave details about famous musicians, and how they had become
famous; they even recorded what kind of neckties and spectacles were
worn by such and such composers. But as to what music is, and what
effect it has on the psyche of people, nothing was said anywhere.
'I spent a whole year studying this so-called theory of music. I read almost
all my books and finally became definitely convinced that this literature
would give me nothing; but my interest in music continued to increase. I
therefore gave up all my reading and buried myself in my own thoughts.
'One day, out of boredom, I happened to take from the prince's library a
book entitled The World of Vibrations, which gave my thoughts about music
a definite direction. The author of this book was not a musician at all, and
from the contents it was obvious that he was not even interested in music.
He was an engineer and mathematician. In one place in his book he
mentioned music merely as an example for his explanation of vibrations.
He wrote that the sounds of music are made up of certain vibrations which
doubtless act upon the vibrations which are also in a man, and this is why a
man likes or dislikes this or that music. I at once understood this, and I fully
agreed with the engineer's hypotheses.
'All my thoughts at that time were absorbed by these interests and, when I
talked with the prince's sister, I always tried to turn the conversation to the
subject of music and its real significance. As a result she herself became
interested in this question, and we pondered over it together and also
began to make experiments.
'The prince's sister even bought several cats and dogs and other animals
specially for this purpose. We also began inviting some of our servants,
served them tea and for hours on end played the piano for them. At first our
experiments produced no result;
but once, when we had as guests five of our servants and ten peasants
from the village formerly owned by the prince, half of them fell asleep while
I was playing a waltz of my own composition.
'We repeated this experiment several times, and each time the number of
those who fell asleep increased. And although the old lady and I, making
use of all kinds of principles, composed other music intended to have
different effects on people, nevertheless the only result we attained was to
put our guests to sleep. Finally, from constantly working on music and
thinking about it, I grew so tired and thin that one day, when the old lady
looked at me attentively, she became alarmed and, on the suggestion of an
acquaintance, hastened to take me abroad.
'We went to Italy and there, distracted by other impressions, I gradually
began to recover. It was only after five years had passed, when we went on
our Pamir-Afghanistan expedition and witnessed the experiments of the
Monopsyche Brotherhood, that I again began to think about the effect of music,
but not with the same enthusiasm as at first.
'In later years, whenever I remembered my first experiments with music, I
could not help laughing at our naivete in giving such significance to the
guests' falling asleep from our music. It never entered our heads that these
people fell asleep from pleasure, simply because they had gradually come
to feel at home with us, and because it was very agreeable after a long
day's work to eat a good supper, drink the glass of vodka offered them by
the kind old lady, and sit in soft armchairs.
'After witnessing the experiments and hearing the explanations of the
Monopsyche brethren, I later, on my return to Russia, resumed my
experiments on people. I found, as the brothers had advised, the absolute
"la" according to the atmospheric pressure of the place where the
experiment was to be carried out, and tuned the piano correspondingly,
taking into consideration also the dimensions of the room
. Besides this, I
chose for the experiments people who already had in themselves the
repeated impressions of certain chords; and I also took into consideration
the character of the place and the race of each one present. Yet I could not
obtain identical results, that is to say, I was not able by one and the same
melody to evoke identical experiences in everyone.
 
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