Forgotten In Time: The Ancient Solfeggio Frequencies
Article by David Hulse, D.D. - www.somaenergetics.com
At the turn of the century the awareness of DNA
entered the collective consciousness of the world. We have incarnated
into this human experience as divine beings with a blueprint, a set of
instructions. We know that a very small percentage (3%) of those
instructions make up our physiology.
Carl Sagan writes that most of our genetic
information (about 97%) is unused DNA. He refers to this as "genetic
gibberish." Is it possible that most of who we are still lies dormant
as our human potential?
In the old paradigm of religion, "potential"
remained a mystery to the human mind, therefore we coined a mystical
term called "SPIRIT." "Spirit" was something that was detached from
who we were, something we didn’t have and could only be gained through
the systems of most religions.
The old paradigm and its premise stated that we began as biology in the womb of our mothers. Telliard deChardin tells us that we
are not a human being trying to attain a spiritual experience, but,
rather, we are spiritual beings having a human experience.
This shift in perception causes a tremendous difference in the way we
perceive ourselves in this third/fourth time-space continuum.
Being a student of "A Course In Miracles" in the
late 80’s, I was faced with a dichotomy in the idea that we are not a
body. I never understood this statement fully until I began to study
Quantum Physics which tells us that everything is energy and matter is not as solid as we perceive it to be.
I believe what is being stated is that at the deepest level we are
not separate, as a body, as a spirit, as a soul — we are just
energy-beings. This is the level of consciousness being opened to us
from which a new paradigm is emerging for the purpose of healing all
separation. The popular term, "The Divine, is in me"- makes "me"
separate from the Divine. May I suggest a shift in the saying to: "The
Divine, AS me" to remove the separation.
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.
I was first introduced to DNA in 1988 when I was
going through a transitional period, during which I felt that I had
come to the end of everything that I believed. A tape was given to me
of a gentleman speaking in an accent, (which I thought at the time,
was rather boring), and I didn’t understand what he was talking about.
Then all of a sudden, as I was ready to turn it off, he said: "Quantum
physics has found that there is no empty space in the human cell, but
it is a teeming, electric-magnetic field of possibility or
potential." That’s all he said! But whatever frequency
was contained in those words, RESONATED something inside the CORE of my
BEING — and I had a KNOWING in me that the NOTHING I thought I was
looking at was the EVERYTHING. Much like in Zen, and the idea of
becoming "as an empty bowl." Eastern Religions (including the Bible)
refer to it as the VOID – The Nothing that is EVERYTHING – The Womb of
Creation. I knew that I was experiencing a re-birth! The person on
that tape was Dr. Deepak Chopra.
I had never heard of Deepak Chopra in 1988, as he
was just coming on the scene about that time. I credit him for a very
important transition in my life, just from the statement he made on
that tape. Today, in retrospect, I would call my response to that
statement a "cellular memory experience." 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.
The work being done today with energy at the
cellular level really excites me, since I had been very interested in
DNA before it became a household word. In fact, I think it took me two
years just to learn how to pronounce it (deoxyribonucleic acid did
not roll off my tongue quickly). But, I was determined to understand
this tremendously powerful energetic blueprint for life, as we know
it, at the cellular level on this planet. DNA became a part of the
collective consciousness when CNN produced a special on the Genome
Project in 2000.
As I pursued my passion for the study of DNA, I
attended a workshop by Dr. Robert Girard from California on DNA
Activation. His work focused on using certain sounds and frequencies
to activate DNA and I started doing DNA Activation workshops. Through
those workshops, an article was given to me that reported how
biochemists are using the frequency 528Hz to repair human DNA. The
article stated that it was a "C." When I read that I thought, "All I
would need to do is go to a piano or other instrument and play a "C" and
then, in the DNA workshops we would be able to repair DNA."
Well, it wasn’t that simple, because I discovered
that 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) was not the
528 Hz frequency "C", as described in the article. Instead, I
discovered that 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, vs. those in general use today.
Later, we will explore that difference between how we create music
today vs. how we used to create it, and how that simple change has
made all of the difference in the world.
I found this ancient scale to be part of a 6-tone
scale sequence of electro-magnetic frequencies called the Original
Solfeggio Scale through the book "The Healing Codes of Biological
Apocalypse" by Dr. Leonard Horowitz. These particular frequencies were
rediscovered by Dr. Joseph Puleo, who received them in a wonderful
experience that some would suggest was mystical. These frequencies are
not something new, but they are something very old.
I shared the information about these frequencies
with a musician friend who had a studio in her home. After reviewing
the information, she decided that she would like to experiment with
these frequencies in the form of meditation music. She was also in
touch with Jonathan Goldman (author of the book, "Healing Sounds") and
he knew of these frequencies, and was using them in some of his music
such as "The Lost Chord" CD. Aryiana requested that he have the
tuning forks made for her to research the frequencies. I asked if she
could also have a set made for me.
After I received the tuning forks and began talking
about them around the country, I noticed that people were resonating
with the information about these powerful frequencies. It felt as
though something was going on in a much larger picture. We were
connecting energetically to this information, and yet I didn’t know
what I was going to do with the tuning forks. Then people began to ask
if I could use the tuning forks on them. From those experiences, and
with information I had gathered, a method and technique began to
develop. I called the technique SomaEnergetics, 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.
When starting these first tunings, the main
frequency that I knew the most about was 528 Hz – that biochemists are
using for DNA repair. I realized that the right side of the body is
controlled by the left-brain, and the left side by the right brain and
that these correspond with our inner male and female energies. As I
took the fork down each side of the body, I could get in touch with
the dominate ancestral DNA that comes thru the Mother’s side or
Father’s side of the chromosomes. I would many times get a tremendous
imbalance in the sound between the two sides. The purpose of energy
work, as many of you know, is to attain balance. For example, if
everything is in balance, such as the ph level, the physical body can
heal more naturally. It’s the same way in our energy bodies. If we can
find that energy balance, that equilibrium, where everything aligns
or everything comes into synchronization into the rhythm of the dance
of life – then healing becomes the natural state. It’s nothing
supernatural, or miraculous. I think a lot of spiritual texts have
referred to this idea when they describe, "going home to heaven."
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.
When I would continue to do the technique, the
sound would begin to even out between the male and female sides of the
body, and the client would indicate they were "feeling" a shift. As
that would occur, I was totally amazed, and asked myself, "What is
happening here?" Although I’ve been a speaker of spiritual things for
over 40 years, I can’t tell you that I’ve been the most intuitive
person in the world. All of a sudden I started having certain feelings
about what to do with the forks. I found that at some point in working
with the client, I stopped "doing" the tuning forks (being the
initiator of the technique), and they started "doing me" – seeming to
direct the movement of the Forks! After hundreds of tunings and
positive testimonies, I have learned to trust the Ancient Solfeggio
Scale frequencies in the form of Tuning Forks as a legitimate
modality.
Everything is relationship. I remember Dr. Fred
Wolf, who is a physicist stating on a tape "Everything is
consciousness." He further noted, "When you are observing an object,
on some level the object is observing you." As I listened to that
statement, I thought it was strange. I then realized that because
something doesn’t have a human consciousness, as I do, that doesn’t mean
it doesn’t have it’s own consciousness. Apparently, observing
something changes it on some level – that the observer, and the
observed are one.
I treat the Solfeggio tuning forks as a conscious
"entity." They are energy, they’re vibration, they’re frequency – the
client is vibration, frequency and energy – I am 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.
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,
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).1
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.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." The following pictures taken by Dr. Hans Jenny are
sound-forms. They 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."
"Space is not empty. It is full, a plenum as opposed
to a vacuum, and is the ground for the existence of everything,
including ourselves. The universe is not separate from this cosmic sea
of energy." David Bohm
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.
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."
Poet Cathie Guzetta summarized this science best when she wrote:
"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."
I discovered that these powerful frequencies had
been given to the church many years ago for a very spiritual purpose.
This was back when the church was a wonderful place for the people in
the villages to gather together. The church served as a social,
political, and spiritual place. People came to Mass, which at that
time, was done in Latin (until Vatican II came along). When people
sing in Latin or musical tones, it is very powerful, because it gets
through all of the limited thought forms, and into deeper levels of the
subconscious – accessing insights beyond belief systems.
As described above by Dr. Candice Pert, PhD, energy
and vibration go all the way to the molecular level. She states that
we have 70 different receptors on the molecules and when vibration and
frequency reaches that far they begin to vibrate. Moreover, she
observed, "as they begin to vibrate they sort of touch each other, and
tickle each other, and they play and mount each other." 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
thru 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 (such as the charismatic
fundamentalists do), they are just different ways that people are
accessing deeper levels of themselves. I suggest to you that the
Solfeggio Tuning Forks are an even purer ways of doing that with
positive intention.
When Dr. Joseph Puleo was researching the tones, he
was directed to a Monsignor at a university in Spokane WA, who was
head of the mediaeval department. Following a 20 minute conversation,
the clergyman asked what he could assist Dr. Puleo with:
"Can you decipher Mediaeval Latin?’
‘Absolutely!’
‘And you know the musical scale and everything?’
‘Absolutely!’
‘Well then, could you tell me what ‘UT - queant laxis’ means?’
After a brief pause, the Monsignor quipped, ‘It’s none of your business’
Then he hung up."1
Additionally, as Dr. Puleo researched the tones
further, he came across a book on Gregorian chants by Professor
Emeritus Willi Apel who "argued that the chants being used today were
totally incorrect, and undermined the spirit of the Catholic faith."1
Moreover, Professor Apel reported that "one-hundred fifty-two chants
were apparently missing. The Catholic Church presumably "lost" these
original chants. The chants were based on the ancient original scale
of six musical notes called the Solfeggio."1 Trust me, nothing is
lost, it’s just neatly put away; however, they cannot hide from the
masses what is energetically placed within the Soul.
According to Professor Willi Apel,1 "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 Iohannes - 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 mathmatic 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."1
I’d heard of do, re, me, fa, so, la, ti, do. I
particularly responded to it whenever I hear that song by Julie
Andrews from "The Sound of Music." I literally have a "brain cell
firing" as it is engraved into my brain, and I see her coming over the
mountain in the movie. I didn’t realize this was actually a second,
modified scale. The original Solfeggio scale was actually: UT, RE, MI,
FA, SO, LA.
Looking at the definitions of each of the original
syllables, using hidden entries from Webster’s Dictionary and the
Original Greek Apocrypha, I have determined that these original
frequencies can be used for: Turning grief to joy, helping the person
connect with their Source to bring forth miracles, DNA repair,
connecting with spiritual family, solving situations & expressing
yourself and finally, becoming more intuitive.2 Through music these
tones can assist all the channels in staying open and keep the life
force (the Chi) literally flowing thru the Chakra System quite freely.
Is this is what the six electro-magnetic frequencies were to
accomplish that were put into "lost" hymns and Gregorian chants?
I think we are living in a tremendously wonderful
time, and rather than seeing the glass as "half empty," I see it as
"half full." Rather than accepting "CNN’s perspective" of the world
view, it’s about finding perspective thru the vision of your own
heart. It is about change and transformation of mankind to the next
level of evolution. We, as Spiritual Light Workers, have made
ourselves accessible at this time, by Divine Appointment, to be here
to help those in humanity who choose (it’s all based upon irrevocable
choice) to stay, or to go. Those who have chosen to stay will come into
our lives, and we have already agreed to assist them.
It’s all about assisting other people. It’s not to
be their "Healer," but to assist them in knowing who they are and
connecting with their true Source. It is about providing an atmosphere
of non-judgement, a Sacred Space, for the purpose of healing
themselves. We should be continuously teaching while assisting people.
The old paradigm teaches us to keep the information among the
professionals. The new paradigm is to share the information, and
empower the client. Everyone you work with—whether it’s Reiki, Massage,
Tuning Forks or other modalities you are using, you should feel that
you’ve empowered that person, so they can extend this information to
someone else. Healing has become about our evolution by reconnecting
our additional strands of DNA. Healing is also about assisting the
person in restoring themselves to a state of "Spiritual Wholeness."
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, and I quote: "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 the book of Genesis it states that there are six
days of creation. Yet many talk about the creation week – or seven
days, and the Christian Bible views the number seven as the number of
completeness. Why Seven? It is due to the influence of the Near
Eastern culture at the time in which Jesus lived, when it was believed
that there were only seven planets.
When wrestling with adding a 7th number, I was mystically drawn to an article in Discover Magazine. 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!
As I observed earlier, another reason these 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.
"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."
Just Intonation can be found in many of the great
Fathers of Classical Music – Beethoven and Hyden, just to name a few.
They did not use this 12-tone temperament and I think 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.
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"
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.
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"
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