The Ancient Solfeggio Frequencies
Stimulate the vibration of expanded creativity, easier problem solving and holistic health.
“Everything is consciousness” Dr. Fred Wold
“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.” (Albert Einstein)
If you like Music, most surely you have wonder why some note combinations sound pleasing to our ears, while others make us cringe. If you keep up with science you by now know that everything in the Universe is vibration, including our selves, and that our resonance with each other and our cosmic environment plays a definite role in the activity of the brain and our cellular function, healing or degenerating our magnetic field. We are just energy-beings.
We will use Joseph Heimiller teaching to illustrate a little theory needed for background. As he explains, in order to understand the answer to this question, it is helpful to understand the wave patterns created by a musical instrument. For example, a string on a guitar vibrates back and forth, this causes mechanical energy to travel through the air, in waves. The number of times per second these waves hit our ear is called “frequency” and it is measured in Hertz (Hz). The more waves per second the higher the pitch. For instance, In 440 hz tunning, a middle C is at about 262 HZ.
In the simplest perspective, the secret for creating pleasing sounding note combinations is using frequencies that match up at regular intervals. For example:
This is a wave pattern of 2 notes that sound good together. Middle C (DO) and G (SOL). In this graphic there is a repeating pattern: every 3rd wave of the G matches up with every 2nd wave of the C.
These are two notes that sound terrible together, C and F#. In this second graphic there is no pattern.
We will focus today in the fact that there are a lot of undiscovered frequency combinations that can’t be played in the confining 12-note system (C, C#, D, D#, E, F, F#, G, G#, A, A#, B or Do, re, mi, fa, sol, la, si and their half tones intervals). Many alternative scales used in India have up to 22 notes per octave. Besides the standard western scale, there are lot of alternative tuning methods available, such as ‘Just Intonation’ and ‘Lucy Tuning’.
Whoever explores deeper into the knowledge and history of Music, eventually finds that Music has been always a Sacred Healing ART and understanding its harmonic series opens the doors to the dimension of Harmony and Sacred Health.
The Ancient Solfeggio Frequencies
via SomaEnergetics TM lightwithin.com/SomaEnergetics
“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. 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.
This ancient scale is part of a 6-tone scale sequence of electro-magnetic frequencies called the Original Solfeggio Scale.
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) is not the 528 Hz frequency “C”. Instead, a regular “C” vibrates to a frequency of only 512 Hz, and the “C” of 528 Hz used in DNA repair has been a part of an ancient scale called the Solfeggio Scale. The difference in the scales exists because of different tuning methods that were utilized in ancient times, vs. those in general use today. That has made all the difference in the world.
We are 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.
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
Interesting is for example, that the third note, frequency 528, realtes to the note MI on the sacle. MI dereives from the phrase “MI-ra gestorum” in Latin meaning “miracle” and it is the exact frequency used by genetic biochemists to repair borken DNA (DNA is the genetic blueprint upon which life is based.)
It is said that the Ancient Gregorian Chants, such as the great hymn to St. John the Baptist, used these special tones to impart spiritual blessing. They were sung in harmony during religious masses. According to Dr. Leonard Horowtiz in his book Healing Codes for the Biological Apocalypse they were rediscovered by Dr. Joseph Puleo.
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).
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.
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.”
This picture was taken by Dr. Hans Jenny are sound-forms. It was 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 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, he claimed.
Mathematics of Music
Here is the equation to figure out the Hz of a note:
Hertz (number of vibrations a second) = 6.875 x 2 ^ ( ( 3 + MIDI_Pitch ) / 12 )
The ^ symbol means ‘to the power of’. The MIDI_Pitch value is according to the MIDI standard, where middle C equals 60, and the C an octave below it equals 48. As an example, let’s figure the hertz for middle C:
Hertz = 6.875 x 2 ^ ( ( 3 + 60 ) / 12 ) = 6.875 x 2 ^ 5.25 = 261.6255
The next note up, C#, is:
Hertz = 6.875 x 2 ^ ( ( 3 + 61 ) / 12 ) = 277.1826
And the next note, D, is:
Hertz = 6.875 x 2 ^ ( ( 3 + 62 ) / 12 ) = 293.6648
The jump between C and C# is 15.56 Hertz, the jump between C# and D is 16.48 Hertz. Although the Hertz jump is not equal between the notes, it is an equal jump in the exponent number and it sounds like an equal jump to our ears going up the scale. This gives a nice smooth transition going up the scale.
Another important feature of the scale is that it jumps by 2 times each octave. The A below middle C is at 220 Hertz, the A above middle C is at 440 Hertz, and the A above that is at 880 Hertz. This means that you can move notes into different octaves and still have them sound consonant. For instance, let’s take the case of middle C and G again, except move G into the next octave. We still have middle C at 261.6Hz, but G is now at 784 Hz. That gives a ratio from G to C of about 3/1 (twice the original ratio of 3/2). The waves still meet up at regular intervals and they still sound consonant! Another nice feature of having an equal exponential jump is that you can start a scale on any note you wish, including the black keys. For instance, instead of C,D,E,F,G,A,B, you can start on, say, D# and have D#,F,G,G#,A#,C,D as your scale with the same great sounding combinations of frequencies.
…to be continued…
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