Chapter 27 The “Secret” Solfeggio Tones
A listing of six tones based on the original “vision” of Dr. D r. Joseph Puleo (Naturopath and Minister of the Gospel) was given in SONA in chapter twenty: “Listing: The Wave Front Bioresonance Codes, 2008.” 2008.”1 These six specific specific tunings are given given as follows below.
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The Basic Six Tones: UT = 396 Hertz (a higher than normal G, or “Sol” in traditional Solfeggio), a frequency said to “Liberate Guilt and Fear,” e.g., e.g ., by Puleo and others. RE = 417 Hertz (a good A-flat), said to “Undo Situations and Facilitate Change.” MI = 528 Hertz (a higher than normal C, or “UT/DO” in traditional Solfeggio), said to “Transform and Bring About Miracles.” The frequency is used to supposedly “Repair “Repair DNA.” FA = 639 Hertz (a good E, or “MI” in traditional Solfeggio), a frequency of “Connecting and Relationships.” SOL = 741 (halfway between F# and G), said to “Awaken Intuition.” LA = 852 (a good A, or “La” in traditional Solfeggio), “Returning to Spiritual Order.”
Popularity & Advocates Puleo’s “Sacred Solfeggio” was derived as a “Bible Code,” found in the Book of Numbers, that includes the 528 Hz tone — a “mathematical electromagnetic frequency code for ‘miracles’ that experts say has already been shown to help repair DNA, the genetic blueprint of life.”2 The latter claim is based on the writings of Dr. Leonard Horowitz3 who has stated that “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! MI - 528 Hz — relates to the crown chakra.”4 Online there must be hundreds of websites discussing the “Solfeggio” system initially promoted by Puleo and Horowitz, yet there appear to be no direct references to the actual use of 528 Hertz in biochemistry to repair the deoxyribonucleic acid helix. Not that I do not believe it possible — being something of a “mystic” myself! However, to whatever extent possible I like to back up the use of healing frequencies with scientific principles — or at least with a few actual case studies that demonstrate their effectiveness.
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What I have have been able to discover online and in related texts regarding the “Solfeggio” tones and DNA repair seems to involve either converting the frequencies and/or music (Gregorian chant) into scalar waves that are applied to individuals (with no further analysis), or assuming that quantum “tunneling” is taking place, and/or that the water molecules around the particles are being/have been affected by the nano-energies. All of these technological approaches would appear to have validity, and yet the outcomes and studies are conspicuously absent.
Musicology Most troubling are the myriad websites that insist these tones “heal” — on the biological, psychological, and especially especially “spiritual” levels, levels, and that they were used by the ancients (without references), e.g., by Pythagoras, in Just tuning systems, even by the Essenes — without so much as a mention of how it was the ancients actually determined these exact three-digit tunings — and with great precision, evidently. In other words, I suspect that while Pythagoreans may have used the tetrachord system of tuning and were able to create harmonic modes — they certainly did not have access to digital sound analysis and computerized frequency counters. So, in terms of accurate tuning, what system(s) did they use? Musically, none of the Solfeggio websites web sites or books evidence any knowledge of music theory or acoustics in general and often put forth conflicting proofs — but always with an abundance of supposed anecdotes from history. For example, a couple of sources talk about David playing his four-string lyre for King Saul following battles in the field against the Philistines. The young David is said to have tuned his instrument to the “Sacred Solfeggio” tones, thereby healing Saul’s headaches. One has to wonder how the shepherd boy was able to obtain such precise tunings while sitting in a tent somewhere in the Palestinian outback.
The Solfeggio Tones with tunings. Note that in terms of “Just Tuning,” if C = 528 Hertz (MI above) is considered the fundamental, then the G = 396 Hertz (UT) below is, in fact, the proper lower sounding fourth. The fifth above, i.e., D (missing), would be 594 Hertz. However, within this acoustically resonating system, the rest of the tones are quite “out of tune” within any known system of tuning.
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Pulse-Tone 3 As discussed at length in SONA, each tone within the Overtone Series may be considered a “Base Pulse-Tone.” If the fundamental C is “2,” then G, the sounding fifth is “3.” If G is the fundamental, then the sounding fifth would wo uld be D, a Pulse-Tone 9, or 3-squared. If D is the fundamental, the sounding fifth would be A, Pulse-tone 27, or 3-cubed, etc. Clearly, the Solfeggio frequencies are built upon increments of Pulse-Tone 3 via the popular Kabbalistic process known as Gematria. The digits of each given frequency are added together and produce either 3, 6, or 9 (1x3, 2x3, or 3x3) in an alternating series.
396 = 3 + 9 + 6 = 18 = 1+8 = 9 417 = 4 + 1 + 7 = 12 = 1 + 2 = 3 528 = 5 + 2 + 8 = 15 = 1 + 5 = 6 639 = 6 + 3 + 9 = 18 = 1 + 8 = 9 741 = 7 + 4 + 1 = 12 = 1 + 2 = 3 852 = 8 + 5 + 2 = 15 = 1 + 5 = 6 Numerous advocates of the Solfeggio tones have attempted to fill in the missing scale tones — as well as adding lower and higher octaves. For example, a lower octave of 528 might be 264 (a “3”), 132 (a “6”), 66 (a “3”), etc., while others have suggested that the tones grow by increments of 111 Hz (a “3” and “peak” Beta-Endorphin trigger), and the following series is often given. 63 + 111 = 174 (mixed-inversion of 417) 174 + 111 = 285 (mixed-inversion of 528) 285 + 111 = 396
396 + 111 = 507, but given as 417 417 + 111 = 528 528 + 111 = 639 (mixed-inversion of 396) 639 + 111 = 750, but given as 741 741 + 111 = 852 (mixed-inversion of 528) and so on, using the digits 417, 147, 714, 1174, etc. as octave fundamentals. Of course, such simple numerological derivations fail to take into account the naturally sounding harmonic resonances of the tones as either scale members or overtones. In particular, it has been pointed out that with many synthesizer keyboards the 417 frequency is not only 35 4
difficult to sequence — but is so “inharmonic” as to be unpleasant. Perhaps this is why the tone is said to “Undo Situations and Facilitate Change.” One has to wonder how that frequency may have worked on King Saul’s headaches?
396 = 9
480 = 3
567 = 9
654 = 6
741 = 3
831 = 3
399 = 3
483 = 6
570 = 3
657 = 9
744 = 6
834 = 6
402 = 6
486 = 9
573 = 6
660 = 3
747 = 9
837 = 9
405 = 9
489 = 3
576 = 9
663 = 6
750 = 3
840 = 3
408 = 3
492 = 6
579 = 3
666 = 9
753 = 6
843 = 6
411 = 6
495 = 9
582 = 6
669 = 3
756 = 9
846 = 9
414 = 9
498 = 3
585 = 9
672 = 6
759 = 3
849 = 3
417 = 3
501 = 6
588 = 3
675 = 9
762 = 6
504 = 9
591 = 6
678 = 3
765 = 9
417 = 3
507 = 3
594 = 9
681 = 6
768 = 3
420 = 6
510 = 6
597 = 3
684 = 9
771 = 6
423 = 9
513 = 9
600 = 6
687 = 3
774 = 9
426 = 3
516 = 3
603 = 9
690 = 6
777 = 3
429 = 6
519 = 6
606 = 3
693 = 9
780 = 6
432 = 9
522 = 9
609 = 6
696 = 3
783 = 9
435 = 3
525 = 3
612 = 9
699 = 6
786 = 3
615 = 3
702 = 9
789 = 6
438 = 6 441 = 9
528 = 6
618 = 6
705 = 3
792 = 9
444 = 3
531 = 9
621 = 9
708 = 6
795 = 3
447 = 6
534 = 3
624 = 3
711 = 9
798 = 6
450 = 9
537 = 6
627 = 6
714 = 3
801 = 9
453 = 3
540 = 9
630 = 9
717 = 6
804 = 3
456 = 6
543 = 3
633 = 3
720 = 9
807 = 6
459 = 9
546 = 6
636 = 6
723 = 3
810 = 9
462 = 3
549 = 9
726 = 6
813 = 3
465 = 6
552 = 3
639 = 9
729 = 9
816 = 6
468 = 9
555 = 6
642 = 3
732 = 3
819 = 9
471 = 3
558 = 9
645 = 6
735 = 6
822 = 3
474 = 6
561 = 3
648 = 9
738 = 9
825 = 6
477 = 9
564 = 6
651 = 3
828 = 9
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852 = 6
In the table above one may see how the series of Solfeggio Tones progresses from 396 Hz to the final 852 Hz in increments of “3” Hz. If we wished to construct a scale, say, on Fundamental = 396 Hz, then a harmonic series of tones could be chosen for that particular scale — a tuning quite in conformity with traditional Just Tuning, which at the same time remains true to the higher Kabbalistic numerology in place. For example, 396 Hz being “G,” the minor second would be a ratio of approximately 15:16. Thus A-flat would be 396 times 1.0666 enc., or 422.4 Hz. In the progressive series above we have 423 Hz, which is not only close, but far more pleasing to the ear than 417 Hz. The Just diatonic major second, i.e., A-natural, would be the ratio ratio of of 8:9, or or 445.5 Hz, which in the 3-based series above would be midway between 444 and 447 Hz. The Just minor third would be a ratio of 5:6, or B-flat = 475.2 Hz. Within Within the 3-based 3-based series this would correspond with either 474 or 477 Hz. The Major Major Third Third in Just Tuning Tuning is a ratio of 4:5, which would would make B-natural 495 Hz. This tuning IS found within the 3-based series above. The Perfect Fourth in Just Tuning is the ratio 3:4, or 1.333 encyclical, which would make the fourth above 396 Hz fundamental C = 528 Hz, which IS the suggested “DNA Repair” tone given by Horowitz and others. The “Diesis,” or Augmented Fourth, may be determined by using the semitone ratio of 15:16, again, to 528 Hertz, yielding C-sharp = 563.2 Hz. Perhaps this would be 564 Hz in the 3-based system above. The Perfect Perfect Fifth is the ratio of 2:3, which would dictate D = 594 Hz Hz — also found in the 3-based series above. The E-flat would be a semitone semitone above D, i.e., 633.6 Hz. 633 Hz is one of the 3-based 3-based series’ tones. In Just Tuning, E-natural would be 668.25 Hz — 669 Hz in the 3-based series. The Octave above G = 396 Hz would be 792 Hz — also on the list above. We can work down from this tone to find F-sharp, or 742.5 Hz — 741 or 744 on the list above. The F-natural would be 704 Hz, correlating with 705 Hz in the 3-based series. Thus, altogether we may form a Just scale based upon 396 Hz — with all tones in conformity with the 3-based Gematrian series. But, the question remains, “Is this really what Pythagoras and the Essenes were doing?” I honestly think not.
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396 39 6 = 9...........................................G 423 = 9...........................................A-flat 444 = 3 – 447 = 6.........................A 474 = 6 – 477 = 9.........................B-flat 495 = 9............................................B
528 = 6..........................................C 564 = 6...........................................C-sharp 594 = 9...........................................D 633 = 3...........................................E-flat 669 = 3...........................................E 705 = 3...........................................F 741 = 3 – 744 = 6........................F-sharp
792 = 9........................................G Clearly, if one wishes to tune an instrument to the 3-based system of Gematria, Solfeggio tones may be obtained with the proper numerological relationships as given by Puleo and others via the system employed. Also clear is the fact that each tuning may be slightly altered to obtain all “9s,” or “6s,” or “3s,” or even to have the scale tones alternate in 9, 6, and 3 sequences. Each of the Solfeggio tones given may also be considered a “fundamental” — and other Just Tuning scales developed upon each.
The Traditional Solfeggio System Now, the Solfeggio scale of UT (DO), RE, MI, M I, FA, SOL, LA L A developed by Guido th D’Arezzo D’Arezzo in 10 -Century -Century Italy — using using the “Hymn to St. John John the Baptizer” Baptizer” — follows follows an 5 ascending scale of tones (talked about in SONA), and these these tones are are step-wise step-wise in motion motion — defining a particular mode, e.g., C, D, D , E, F, G, and A, i.e., that of the Greco-Roman “Lydian” mode.
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Taking either the movable or fixed vowel sounds for the tones, traditional Solfeggio allows for vowel shapings that correspond with chromatic alterations of the syllables, DO (UT), RE, MI, FA, SOL, LA, and SI (TI). For example, a DO-flat might be “DU,” or a REsharp “RI,” a MI-flat “MU,” etc.
Ancient Languages Languages All such systematic alterations of tunings, tunings, vowel sounds, and “coloring” of scale tones derive primarily from memories (mnemonics) of the original language on the planet, sometimes referred to as “Uranta,” and as encoded in the sacred teachings of not only the Kabbalah (e.g., of the Essenes) but of ancient Egypt (Hermetic teachings), China (Taoist), India (Tantric Vedas), Oceania (Huna language), and, for example, the languages of the great Native American civilizations — not to exclude other forgotten solar cultures.6 The purpose purpose of vowel sounds and shapes, among those ancient adepts, was to resonate certain parts of the Physical Body and the higher eight Force Centers of the Psychic Body and to put one in contact with the higher four Force Centers of the t he “Spiritual Light Body.” For example, shaped utterances may be utilized to resonate the upper palate in the mouth, just below the third ventricle, wherein is located the Pineal Gland (Third Eye). Similar vowels and tones may be felt felt in the Heart Center, the Solar Plexus, the the Crown, the Base of the Spine, etc. Having studied and employed such sounds for almost four decades myself, I fail to comprehend how any of the “Solfeggio” tones, as advocated by Puleo and Horowitz, are able to generate any of these subtle resonation patterns.
1. Page 216, “PULEO, Joseph (“Solfeggio” System). System).
2. Refer online to http://www.relfe.com/bible_codes.html 3. See online http://www.drleonardhorowitz.com/bio.html 4. See online http://music.vacau.com/2010/06/frequency-528-hz-dna-repair-no-music/ http://music.vacau.com/2010/06/frequency-528-hz-dna-repair-no-music/ 5. See pp. 98 – 99. 6. See, for example, the research of Rex Gilroy on the lost civilization of Australia, i.e., the “Uru” solar culture dated to as early as 100,000 B.C.E., which spread from Australasia across Asia and Europe, Oceania, to other continents.
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