Introduction
S.O.L.F.A. Sound Therapy is a fascinating modality that can be incorporated with almost any other therapy. We have incorporated it with such therapies as Reiki, reflexology, acupressure, polarity, crystal, color, and massage. It also stands alone as a very powerful relaxation technique. A major factor in maintaining a healthy body, both physically, mentally, emotionally, and spiritually is the ability to relax. Stress, be it physical or nonphysical, is the precursor to dis-ease.
Before we begin with the basic instruction for S.O.L.F.A. Sound Therapy some history is necessary. In 1999 we became interested in studying the effect of sound on matter and spirit. For the previous 14 years we had experienced first hand the changes wrought in individuals through the ministry of "Spontaneous Music and Song," but now we wanted to understand sound from a more scientific viewpoint. We enrolled in an audio recording class and also began studying Cymatics, which is the effect of sound on matter. Drs. Hans Jenny and Sir Peter Guy Manners are forerunners in the field of Cymatics.
Several months into our studies we were listening to an audio tape in which an ancient six syllable scale known as the solfeggio scale (aka solfa syllables) was mentioned. There was also a reference to six hidden sound frequencies encoded in the book of Numbers in the Bible. The book that was referencing this information was titled Healing Codes for the Biological Apocalypse by Dr. Leonard Horowitz and Dr. Joseph Puleo.
We were intrigued by this information and ordered the book. The book is very interesting and in-depth in its coverage of viruses, vaccinations, world control, etc., but the references to sound and the six-syllable solfa scale really captured our attention. We began a research project that led us to such historical personages as Pythagoras, Boethius, Gregory the Great, Paul the Deacon, and Guido Aretinus. Although these historical figures lived in different eras, they all had a part in creating S.O.L.F.A. Sound Therapy. This inquiry is ongoing and the study of one individual just seems to naturally lead to the study of another. As this therapy further develops, we expect other historical figures will be added to this list.
Our next step was to download a tone generator from the internet for the purpose of inputting and listening to the above mentioned sound frequencies found in the Bible. We then located the corresponding notes, as closely as possible, on our keyboard. Finally, we purchased tuning forks created to these precise frequencies.
As you read on, you will be introduced to some fascinating people from the past who have imparted wonderful discoveries to all of us living in the now. Also, discover how the Divine Mind, through the use of the solfa syllables (solfeggio scale), has preserved within the cosmic consciousness the truth of vibrational frequency as a tool for spiritual enlightenment and body balance. For hundreds of years these syllables have been used as an exercise to assist singers in remembering notes and have preserved, unconsciously, the hidden intent of balance and wholeness within the universal cosmic grid.
________________________________________________
The more I learn of physics,
the more I am drawn to metaphysics.
--Albert Einstein
If you want to find the secrets of the universe,
think in terms of energy, frequency, and vibration.
--Dr. Nikola Tesla, 1942
________________________________________________
THE BASICS
Definitions from Webster's Dictionary:
solfa
1. The syllables do (formerly ut), re, mi, fa, sol, la, ti (formerly si).
2. The use of these syllables, as in vocal exercises.
solfeggio
1. A vocal exercise in which the solfa syllables are used.
2. The use of the solfa syllables to name or represent the tones of a melody or voice part, or the tones of the scale, or of a particular series, as the scale of C.
The term "solfa syllables" refers to the actual syllables derived by Guido Aretinus (this will be explained later) and the term "solfeggio scale" refers to the act of singing those syllables. According to the dictionary, the term "solfa" was probably derived by combining the fifth and fourth syllables ("sol" and "fa"). We have taken the already existing term of "solfa" and created an acronym with it. The acronym we have created is "Sound Of Life Frequency Attunement." Throughout this manual we use the terms “solfa” and “S.O.L.F.A.” When used without periods separating the letters, we are referring to the syllables and when used with the periods we are referring to the therapy.
The modern day solfa scale is a series of seven ascending notes that are sung to the syllables Do-Re-Mi-Fa-So-La-Ti.
The ancient solfa scale was a series of six ascending notes that were sung to the syllables Ut-Re-Mi-Fa-Sol-La.
The solfa syllables were taken from a Gregorian chant written for John the Baptist called Ut Queant Laxis. The explanation of how these syllables were arrived at will be covered in a later section.
The six sound frequencies in the Bible in the book of Numbers, chapter 7, verses 12-89 were discovered by Dr. Joseph Puleo. The decoding of these frequencies will be explained later. The frequencies are 396hz, 417hz, 528hz, 639hz, 741hz, and 852hz.
The exact frequencies of the original solfa syllables are unknown because throughout history different tuning applications have been used. The standard for tuning 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 manual, but the following quotes 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.
"Although it is difficult to describe the special qualities of just 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 equal temperament, which deviate from simple rations to varying degrees, sound rough, restless, or muddy in comparison." (emphasis added)
"An equally serious problem with twelve-tone equal temperament is that it supplies composers with an artificially simplified, one-dimensional model of musical relationships. By substituting twelve equally spaced, fixed tones for a potentially unlimited number of tones, interconnected by a web of subtle and complex musical relationships, equal temperament not only impoverished the sonic palette of Western music, but also deprived composers and theorists of the means for thinking clearly about tonal relationships, causing them to confuse close relationships with remote ones and consonances with dissonances."
"Just Intonation has depth and breadth. Its fundamental principles are relatively simple but its ramifications are vast. At present, the musical realm that comprises Just Intonation remains largely unexplored. A few pioneering composers and theorists have sketched some of its most striking features, but the map still contains many blank spaces where the adventurous composer may search for new musical treasures."
It is important to understand that sound frequencies are very powerful, and intent is very powerful. When there is a marriage between certain frequencies and certain intents, they give birth to a living attunement with the Divine Mind that brings the physical and the etheric bodies into a balanced resonance. Balance is the key to well-being.
________________________________________________
Here is a beautiful quote by Gregg Braden:
AS
we allow life to show us ourselves in new ways
so that we may know ourselves in those ways
AND
we reconcile within ourselves that which life has
shown us
THEN
we become compassion.
________________________________________________
THE SECRET WITHIN THE ORIGINAL SOLFA SYLLABLES
The original Gregorian chant was written in Latin. The solfa syllables were taken from the first stanza. Each line was divided in half and the first syllable of each half line was used.
Ut queant laxis resonare fibris
Mira gestorum famuli tuorum
Solve polluti labii reatum
Sancte Iohannes
Ut queant laxis
Resonare fibris
Mira gestorum
Famuli tuorum
Solve pollute
Labii reatum
Sancte Iohannis
Literal translation:
In order that the slaves might resonate [1] (resound [2]) the miracles (wonders) of your creations with loosened (expanded) vocal chords. Wash the guilt from (our) Polluted lip. Saint John.
Expanded translation: [3]
We, as prisoners, are crying out for release from our spoken expression of limited consciousness so that we might resonate with your expanded creative vibrations.
Enlarged translation:
The Divine Mind needs an unconfined and freely moving relationship with us that will resonate our speech, or the very fiber of our being, to produce a miracle of communication, which will solve, dissolve, and release the restrictions of our speech.
Now that we have a basic understanding of the solfa syllables, let's climb into our time machine and go back in history to meet some incredible people.
HISTORICAL FIGURES
Pythagoras (c. 569 BC – c. 475 BC)
Pythagoras was born in Greece on the island of Samos. He is described as the first pure mathematician. He founded a society known today as the Pythagoreans; they were a very secretive society that lived in communal conditions. They adhered to a strict code of secrecy. A few of their beliefs were: All reality is mathematical in nature; the soul can rise to union with the divine; certain symbols have a mystical significance.
The Pythagoreans were not like the mathematicians of today; they were not interested in trying to formulate or solve mathematical problems, rather, they were interested in the concepts or mystical qualities of numbers and mathematical figures, such as a triangle, square, hexagon, circle, etc.
One of the mystical concepts developed by this society was the reduction of a number to a single digit; for example, 15=1+5=6 or 236=2+3+6=11=1+1=2. This concept will be referred to later.
According to an article in Yoga Journal written by Richard Leviton, Pythagoras believed that "the mathematical ratios between the vibratory rates of the notes on a scale reflect a universal law of harmony, descriptive of planetary motions, the laws of music, and the inner life of the soul. A single stretched and vibrating string illustrates both the fundamentals of musical harmonics and the laws of the cosmos. 'Study the monochord,' advised the Greek philosopher, 'and you will know the secrets of the universe'."
It should be noted that the Pythagoreans were famous for their mutual friendship, unselfishness, morality, and honesty.
St. Gregory the Great or Pope Gregory I (540 AD – 604 AD)
Gregory was born in Rome to a noble and wealthy family. As a young adult he held government office and was beloved and respected by the people. At about age 35 he had a spiritual awakening. He renounced worldly possessions and founded seven monasteries. He converted his family home in Rome into a monastery and became a simple monk.
Eventually, he was chosen as secretary to the Pope. When the Pope died of the plague, Gregory was pressured into accepting the office, although he did not want it. At the time he became Pope he likened the church to an old ship that was shattered, decayed, and full of leaks. Pope Gregory labored zealously to improve the condition of the church and was known for his brilliance, as well as, his compassion and charity. He founded a school for singing and established a new way of chanting from which we have derived the name Gregorian chants. Realizing that monks and nuns had devoted their lives to God; but also that the mind wanders and the body is weak, chanting was used as a tool for intensifying the focus of mind and body. Chanting was effective at almost any moment, be it formal rituals or daily chores.
Parts of a monastery were set aside for visitors. Refuge could be taken by pilgrims, the ill, the aged, etc. They could hear the monks chanting round the clock. The chant was believed to have a rhythmic pulse that was a fundamental order of the universe. The chant was believed to have healing qualities.
Paul the Deacon aka Paulus Diaconus (c. 720 - c. 799)
Paul the Deacon was born at Friuli. He was a descendant of a noble Lombard family. He was also a monk and a medieval historian. Gregory the Great is mentioned in his writings.
According to the historian, Durandus, the hymn Ut Queant Laxis was composed by Paul the Deacon on a certain Holy Saturday when he found himself suffering from hoarseness of voice before having to chant the Exsultet. It has been speculated that the hymn was written in honor of Saint John the Baptist while Paul the Deacon was reflecting on the restoration of the voice of Zacharias, the father of John the Baptist.
Guido Aretinus aka Guido d’Arezzo (c. 0995 AD – c. 1050 AD)
Guido was born in Paris, France. He was a Benedictine monk and traveled to the city of Arezzo in Italy around 1025. He was a music theorist and wrote a theoretical work entitled Micrologus. He was the author of much of our present day music notation. He also developed what we know as solfa syllables or the solfeggio scale, which is a tool used by singers to learn chants and songs more easily. Today we know the solfeggio scale as seven ascending notes assigned to the syllables Do-Re-Mi-Fa-So-La-Ti. The original scale was six ascending notes assigned to Ut-Re-M-Fa-Sol-La. The syllables for the scale were taken from a hymn to St. John the Baptist, Ut Queant Laxis.
Guido may have been influenced by Boethuis, a mystic of the 6th century, because he is mentioned in Micrologus. Boethuis had also written five books on music fundamentals. He divided music into three parts.
Music of the cosmos/world – music related to astrology and numerology
Music of humanity – music related to the body and soul
Music of instruments – music produced by instruments or the human voice
The study of Boethuis warrants further examination. This would be a good adjunct for anyone interested in furthering their understanding of the effects of sound frequencies.
Let us now return to our present time and meet Dr. Joseph Puleo.
WHO IS DR. JOSEPH PULEO?
Dr. Puleo is a naturopathic doctor currently living in northern Idaho. Through a series of bizarre circumstances beginning in 1974, Dr. Puleo has been guided through visitations from angels, visions, and prophesies into the unraveling of certain vibrational frequencies and other mysteries encoded in the Bible. He was introduced, through an open vision, to the Pythagorean method of numeral reduction. Using this method, he discovered six sound frequencies hidden in the book of Numbers, chapter 7, verses 12-89.These frequencies are 396hz, 417hz, 528hz, 639hz, 741hz, and 852hz. The fact that these are vibrational frequencies was further confirmed when it was discovered that the frequency of 528hz is used in the restoration of DNA [4]. It has a powerful effect upon the water molecules that support the DNA helix.
How He Deciphered the Six Frequencies
Here is a quick synopsis of how the frequencies were deciphered. In the Bible, in the book of Numbers, chapter 7, verse 12 we find a reference to the first day. Moving down 6 verses, to verse 18, we find a reference to the second day, continuing down six more verses, to verse 24, we find a reference to the third day, and so forth until the final reference in verse 78 which is speaking of the twelfth day. What these verses have in common is a reference to a similar idea.
To arrive at the first frequency the actual verse numbers are added using the Pythagorean method of reducing a number to a single digit. Thus, Verse 12 is 1+2=3, verse 18 is 1+8=9, verse 24 is 2+4=6, verse 30 is 3+0=3, verse 36 is 3+6=9, and verse 42 is 4+2=6, etc. until verse 78. The pattern here is 396, 396, 396, etc. This is the first frequency.
The next frequency is found by looking at verse 13 which is speaking of an offering. Six verses down, which is verse 19, the same offering or idea is repeated, six verses down at verse 25 there is another repeat, etc. Thus, by using the Pythagorean method of reduction, again we find a pattern developed. This pattern is 417, 417, 417, etc. Now we have the second frequency. The remaining frequencies are arrived at in the same manner. When all is complete the frequencies are 396, 417, 528, 639, 741, and 852.
THE POWER OF INTENT AND INTUITION WHEN USED WITH SOUND
Definitions:
intent
1. Act of stretching out
2. Having the mind, attention, or will concentrated on something or some end or purpose.
intuition
1. That which is perceived or known intuitively
2. Quick perception of truth or knowledge without conscious attention or reasoning.
balance
1. A state of equilibrium or equality.
2. Equilibrium of the body.
3. Mental or emotional stability; sanity.
4. Harmonious proportion, as in the design or arrangement of parts.
What is the intent behind the solfa syllables according to their Latin definitions?
Ut preparatory tone to prepare the body, soul, and spirit to receive the intent of the next five tones (in order to receive)
Re tone to begin resonance with the Divine (resounds or balance frequencies)
Mi tone to begin remarkable and extraordinary changes (miracles)
Fa tone to seek out limitations imposed upon us (slaves to mindsets)
Sol tone to loosen, release, unbind, untie, open, free (solve, resolve)
La tone to open the vocal chords (release the lips)
________________________________________________
Food for Thought:
"When we encode the six ascending frequencies discovered in the Bible into the hidden matrix of the six solfa syllables, focusing our intent upon creating a resonance with the divine mind, we release our own consciousness from the prison of thought restriction."
"My intention is to balance and my intuition will guide me there."
________________________________________________
HOW DOES ALL OF THIS FIT TOGETHER?
What have we discovered so far?
The original solfa syllables were Ut, Re, Mi, Fa, Sol, La.
These six solfa syllables were derived from the Gregorian chant Ut Queant Laxis. The chant Ut Queant Laxis has within its interpretation the mystery of using sound resonance as a basis for restoration of wholeness.
There are six repeating vibrational sound frequencies (396hz, 417hz, 528hz, 639hz, 741hz, and 852hz) found in the Bible in the book of Numbers. As accurate as possible, given our current tuning system, the notes corresponding to these ascending frequencies are G, G#, C, D#, F# and G#.
The frequency of 528hz is used, according to Dr. Lee Lorenzen, Ph.D., as a repairer of DNA, the hereditary code for life.
What can we do with what we have discovered?
We can use tuning forks that have been created to these exact frequencies to balance the chakras and etheric bodies.
We can incorporate the use of the tuning forks and/or the Gregorian chant, Ut Queant Laxis, with other balancing therapies (Reiki, polarity, acupressure, massage, color, crystal, etc.)
We can create meditation and other music that incorporates these note frequencies.
We can use a tone generator to reproduce these exact frequencies.
We can sing or chant these solfa syllables. As we sing or chant with understanding and clear intent, we create a powerful resonance not only within ourselves, but also within the collective consciousness.
We can chant in groups to create a powerful group resonance.
We can sing or chant not only the solfa syllables, but also the entire hymn, as a personal or group experience.
________________________________________________
References for Chapter One
Just Intonation: Doty, David B., The Just Intonation Primer, ©1993, 1994 The Just Intonation Network, 535 Stevenson Street, San Francisco, CA 94103
Pythagoras: http://www-groups.dcs.st-andrews.ac.uk (article by J. J. O’Connor and
E. F. Robertson; http://members.aol.com/Lambdom (International Lambdoma Research Institute); Article by Richard Leviton, senior writer at Yoga Journal.
St. Gregory the Great: www.christiansunite.com; www.poncacitynews.com
Guido d’Arezzo: www.stevenestrella.com; www.infoplease.com; www.xrefer.com; www.research.umbc.edu
Paul the Deacon: www.newadvent.org
Dr. Joseph Puleo: Horowitz, Leonard and Puleo, Joseph, Healing Codes for the Biological Apocalypse, Tetrahedron Publishing Group, 1999, 2000, ISBN: 0-923550-39-9
Hymn of St. John the Baptist (Ut Queant Laxis): www.powerofmusic.com; www.newadvent.org; http://hysy2.archives.nd.edu
________________________________________________
Footnotes
[1] Resonate means to receive larger vibrations that in effect will increase our lower vibrations.
[2] Resound means to sound again. We are restoring or remembering our former state of being.
[3] The Expanded and Enlarged translations have been painstakingly written using Latin dictionaries and Webster's Dictionary.
[4] According to Dr. Lee Lorenzen, Ph.D., mentioned in the book Healing Codes for the Biological Apocalypse (see references). Dr. Lorenzen also holds a patent on clustered water.
S.O.L.F.A. Sound Therapy is a fascinating modality that can be incorporated with almost any other therapy. We have incorporated it with such therapies as Reiki, reflexology, acupressure, polarity, crystal, color, and massage. It also stands alone as a very powerful relaxation technique. A major factor in maintaining a healthy body, both physically, mentally, emotionally, and spiritually is the ability to relax. Stress, be it physical or nonphysical, is the precursor to dis-ease.
Before we begin with the basic instruction for S.O.L.F.A. Sound Therapy some history is necessary. In 1999 we became interested in studying the effect of sound on matter and spirit. For the previous 14 years we had experienced first hand the changes wrought in individuals through the ministry of "Spontaneous Music and Song," but now we wanted to understand sound from a more scientific viewpoint. We enrolled in an audio recording class and also began studying Cymatics, which is the effect of sound on matter. Drs. Hans Jenny and Sir Peter Guy Manners are forerunners in the field of Cymatics.
Several months into our studies we were listening to an audio tape in which an ancient six syllable scale known as the solfeggio scale (aka solfa syllables) was mentioned. There was also a reference to six hidden sound frequencies encoded in the book of Numbers in the Bible. The book that was referencing this information was titled Healing Codes for the Biological Apocalypse by Dr. Leonard Horowitz and Dr. Joseph Puleo.
We were intrigued by this information and ordered the book. The book is very interesting and in-depth in its coverage of viruses, vaccinations, world control, etc., but the references to sound and the six-syllable solfa scale really captured our attention. We began a research project that led us to such historical personages as Pythagoras, Boethius, Gregory the Great, Paul the Deacon, and Guido Aretinus. Although these historical figures lived in different eras, they all had a part in creating S.O.L.F.A. Sound Therapy. This inquiry is ongoing and the study of one individual just seems to naturally lead to the study of another. As this therapy further develops, we expect other historical figures will be added to this list.
Our next step was to download a tone generator from the internet for the purpose of inputting and listening to the above mentioned sound frequencies found in the Bible. We then located the corresponding notes, as closely as possible, on our keyboard. Finally, we purchased tuning forks created to these precise frequencies.
As you read on, you will be introduced to some fascinating people from the past who have imparted wonderful discoveries to all of us living in the now. Also, discover how the Divine Mind, through the use of the solfa syllables (solfeggio scale), has preserved within the cosmic consciousness the truth of vibrational frequency as a tool for spiritual enlightenment and body balance. For hundreds of years these syllables have been used as an exercise to assist singers in remembering notes and have preserved, unconsciously, the hidden intent of balance and wholeness within the universal cosmic grid.
________________________________________________
The more I learn of physics,
the more I am drawn to metaphysics.
--Albert Einstein
If you want to find the secrets of the universe,
think in terms of energy, frequency, and vibration.
--Dr. Nikola Tesla, 1942
________________________________________________
THE BASICS
Definitions from Webster's Dictionary:
solfa
1. The syllables do (formerly ut), re, mi, fa, sol, la, ti (formerly si).
2. The use of these syllables, as in vocal exercises.
solfeggio
1. A vocal exercise in which the solfa syllables are used.
2. The use of the solfa syllables to name or represent the tones of a melody or voice part, or the tones of the scale, or of a particular series, as the scale of C.
The term "solfa syllables" refers to the actual syllables derived by Guido Aretinus (this will be explained later) and the term "solfeggio scale" refers to the act of singing those syllables. According to the dictionary, the term "solfa" was probably derived by combining the fifth and fourth syllables ("sol" and "fa"). We have taken the already existing term of "solfa" and created an acronym with it. The acronym we have created is "Sound Of Life Frequency Attunement." Throughout this manual we use the terms “solfa” and “S.O.L.F.A.” When used without periods separating the letters, we are referring to the syllables and when used with the periods we are referring to the therapy.
The modern day solfa scale is a series of seven ascending notes that are sung to the syllables Do-Re-Mi-Fa-So-La-Ti.
The ancient solfa scale was a series of six ascending notes that were sung to the syllables Ut-Re-Mi-Fa-Sol-La.
The solfa syllables were taken from a Gregorian chant written for John the Baptist called Ut Queant Laxis. The explanation of how these syllables were arrived at will be covered in a later section.
The six sound frequencies in the Bible in the book of Numbers, chapter 7, verses 12-89 were discovered by Dr. Joseph Puleo. The decoding of these frequencies will be explained later. The frequencies are 396hz, 417hz, 528hz, 639hz, 741hz, and 852hz.
The exact frequencies of the original solfa syllables are unknown because throughout history different tuning applications have been used. The standard for tuning 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 manual, but the following quotes 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.
"Although it is difficult to describe the special qualities of just 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 equal temperament, which deviate from simple rations to varying degrees, sound rough, restless, or muddy in comparison." (emphasis added)
"An equally serious problem with twelve-tone equal temperament is that it supplies composers with an artificially simplified, one-dimensional model of musical relationships. By substituting twelve equally spaced, fixed tones for a potentially unlimited number of tones, interconnected by a web of subtle and complex musical relationships, equal temperament not only impoverished the sonic palette of Western music, but also deprived composers and theorists of the means for thinking clearly about tonal relationships, causing them to confuse close relationships with remote ones and consonances with dissonances."
"Just Intonation has depth and breadth. Its fundamental principles are relatively simple but its ramifications are vast. At present, the musical realm that comprises Just Intonation remains largely unexplored. A few pioneering composers and theorists have sketched some of its most striking features, but the map still contains many blank spaces where the adventurous composer may search for new musical treasures."
It is important to understand that sound frequencies are very powerful, and intent is very powerful. When there is a marriage between certain frequencies and certain intents, they give birth to a living attunement with the Divine Mind that brings the physical and the etheric bodies into a balanced resonance. Balance is the key to well-being.
________________________________________________
Here is a beautiful quote by Gregg Braden:
AS
we allow life to show us ourselves in new ways
so that we may know ourselves in those ways
AND
we reconcile within ourselves that which life has
shown us
THEN
we become compassion.
________________________________________________
THE SECRET WITHIN THE ORIGINAL SOLFA SYLLABLES
The original Gregorian chant was written in Latin. The solfa syllables were taken from the first stanza. Each line was divided in half and the first syllable of each half line was used.
Ut queant laxis resonare fibris
Mira gestorum famuli tuorum
Solve polluti labii reatum
Sancte Iohannes
Ut queant laxis
Resonare fibris
Mira gestorum
Famuli tuorum
Solve pollute
Labii reatum
Sancte Iohannis
Literal translation:
In order that the slaves might resonate [1] (resound [2]) the miracles (wonders) of your creations with loosened (expanded) vocal chords. Wash the guilt from (our) Polluted lip. Saint John.
Expanded translation: [3]
We, as prisoners, are crying out for release from our spoken expression of limited consciousness so that we might resonate with your expanded creative vibrations.
Enlarged translation:
The Divine Mind needs an unconfined and freely moving relationship with us that will resonate our speech, or the very fiber of our being, to produce a miracle of communication, which will solve, dissolve, and release the restrictions of our speech.
Now that we have a basic understanding of the solfa syllables, let's climb into our time machine and go back in history to meet some incredible people.
HISTORICAL FIGURES
Pythagoras (c. 569 BC – c. 475 BC)
Pythagoras was born in Greece on the island of Samos. He is described as the first pure mathematician. He founded a society known today as the Pythagoreans; they were a very secretive society that lived in communal conditions. They adhered to a strict code of secrecy. A few of their beliefs were: All reality is mathematical in nature; the soul can rise to union with the divine; certain symbols have a mystical significance.
The Pythagoreans were not like the mathematicians of today; they were not interested in trying to formulate or solve mathematical problems, rather, they were interested in the concepts or mystical qualities of numbers and mathematical figures, such as a triangle, square, hexagon, circle, etc.
One of the mystical concepts developed by this society was the reduction of a number to a single digit; for example, 15=1+5=6 or 236=2+3+6=11=1+1=2. This concept will be referred to later.
According to an article in Yoga Journal written by Richard Leviton, Pythagoras believed that "the mathematical ratios between the vibratory rates of the notes on a scale reflect a universal law of harmony, descriptive of planetary motions, the laws of music, and the inner life of the soul. A single stretched and vibrating string illustrates both the fundamentals of musical harmonics and the laws of the cosmos. 'Study the monochord,' advised the Greek philosopher, 'and you will know the secrets of the universe'."
It should be noted that the Pythagoreans were famous for their mutual friendship, unselfishness, morality, and honesty.
St. Gregory the Great or Pope Gregory I (540 AD – 604 AD)
Gregory was born in Rome to a noble and wealthy family. As a young adult he held government office and was beloved and respected by the people. At about age 35 he had a spiritual awakening. He renounced worldly possessions and founded seven monasteries. He converted his family home in Rome into a monastery and became a simple monk.
Eventually, he was chosen as secretary to the Pope. When the Pope died of the plague, Gregory was pressured into accepting the office, although he did not want it. At the time he became Pope he likened the church to an old ship that was shattered, decayed, and full of leaks. Pope Gregory labored zealously to improve the condition of the church and was known for his brilliance, as well as, his compassion and charity. He founded a school for singing and established a new way of chanting from which we have derived the name Gregorian chants. Realizing that monks and nuns had devoted their lives to God; but also that the mind wanders and the body is weak, chanting was used as a tool for intensifying the focus of mind and body. Chanting was effective at almost any moment, be it formal rituals or daily chores.
Parts of a monastery were set aside for visitors. Refuge could be taken by pilgrims, the ill, the aged, etc. They could hear the monks chanting round the clock. The chant was believed to have a rhythmic pulse that was a fundamental order of the universe. The chant was believed to have healing qualities.
Paul the Deacon aka Paulus Diaconus (c. 720 - c. 799)
Paul the Deacon was born at Friuli. He was a descendant of a noble Lombard family. He was also a monk and a medieval historian. Gregory the Great is mentioned in his writings.
According to the historian, Durandus, the hymn Ut Queant Laxis was composed by Paul the Deacon on a certain Holy Saturday when he found himself suffering from hoarseness of voice before having to chant the Exsultet. It has been speculated that the hymn was written in honor of Saint John the Baptist while Paul the Deacon was reflecting on the restoration of the voice of Zacharias, the father of John the Baptist.
Guido Aretinus aka Guido d’Arezzo (c. 0995 AD – c. 1050 AD)
Guido was born in Paris, France. He was a Benedictine monk and traveled to the city of Arezzo in Italy around 1025. He was a music theorist and wrote a theoretical work entitled Micrologus. He was the author of much of our present day music notation. He also developed what we know as solfa syllables or the solfeggio scale, which is a tool used by singers to learn chants and songs more easily. Today we know the solfeggio scale as seven ascending notes assigned to the syllables Do-Re-Mi-Fa-So-La-Ti. The original scale was six ascending notes assigned to Ut-Re-M-Fa-Sol-La. The syllables for the scale were taken from a hymn to St. John the Baptist, Ut Queant Laxis.
Guido may have been influenced by Boethuis, a mystic of the 6th century, because he is mentioned in Micrologus. Boethuis had also written five books on music fundamentals. He divided music into three parts.
Music of the cosmos/world – music related to astrology and numerology
Music of humanity – music related to the body and soul
Music of instruments – music produced by instruments or the human voice
The study of Boethuis warrants further examination. This would be a good adjunct for anyone interested in furthering their understanding of the effects of sound frequencies.
Let us now return to our present time and meet Dr. Joseph Puleo.
WHO IS DR. JOSEPH PULEO?
Dr. Puleo is a naturopathic doctor currently living in northern Idaho. Through a series of bizarre circumstances beginning in 1974, Dr. Puleo has been guided through visitations from angels, visions, and prophesies into the unraveling of certain vibrational frequencies and other mysteries encoded in the Bible. He was introduced, through an open vision, to the Pythagorean method of numeral reduction. Using this method, he discovered six sound frequencies hidden in the book of Numbers, chapter 7, verses 12-89.These frequencies are 396hz, 417hz, 528hz, 639hz, 741hz, and 852hz. The fact that these are vibrational frequencies was further confirmed when it was discovered that the frequency of 528hz is used in the restoration of DNA [4]. It has a powerful effect upon the water molecules that support the DNA helix.
How He Deciphered the Six Frequencies
Here is a quick synopsis of how the frequencies were deciphered. In the Bible, in the book of Numbers, chapter 7, verse 12 we find a reference to the first day. Moving down 6 verses, to verse 18, we find a reference to the second day, continuing down six more verses, to verse 24, we find a reference to the third day, and so forth until the final reference in verse 78 which is speaking of the twelfth day. What these verses have in common is a reference to a similar idea.
To arrive at the first frequency the actual verse numbers are added using the Pythagorean method of reducing a number to a single digit. Thus, Verse 12 is 1+2=3, verse 18 is 1+8=9, verse 24 is 2+4=6, verse 30 is 3+0=3, verse 36 is 3+6=9, and verse 42 is 4+2=6, etc. until verse 78. The pattern here is 396, 396, 396, etc. This is the first frequency.
The next frequency is found by looking at verse 13 which is speaking of an offering. Six verses down, which is verse 19, the same offering or idea is repeated, six verses down at verse 25 there is another repeat, etc. Thus, by using the Pythagorean method of reduction, again we find a pattern developed. This pattern is 417, 417, 417, etc. Now we have the second frequency. The remaining frequencies are arrived at in the same manner. When all is complete the frequencies are 396, 417, 528, 639, 741, and 852.
THE POWER OF INTENT AND INTUITION WHEN USED WITH SOUND
Definitions:
intent
1. Act of stretching out
2. Having the mind, attention, or will concentrated on something or some end or purpose.
intuition
1. That which is perceived or known intuitively
2. Quick perception of truth or knowledge without conscious attention or reasoning.
balance
1. A state of equilibrium or equality.
2. Equilibrium of the body.
3. Mental or emotional stability; sanity.
4. Harmonious proportion, as in the design or arrangement of parts.
What is the intent behind the solfa syllables according to their Latin definitions?
Ut preparatory tone to prepare the body, soul, and spirit to receive the intent of the next five tones (in order to receive)
Re tone to begin resonance with the Divine (resounds or balance frequencies)
Mi tone to begin remarkable and extraordinary changes (miracles)
Fa tone to seek out limitations imposed upon us (slaves to mindsets)
Sol tone to loosen, release, unbind, untie, open, free (solve, resolve)
La tone to open the vocal chords (release the lips)
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Food for Thought:
"When we encode the six ascending frequencies discovered in the Bible into the hidden matrix of the six solfa syllables, focusing our intent upon creating a resonance with the divine mind, we release our own consciousness from the prison of thought restriction."
"My intention is to balance and my intuition will guide me there."
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HOW DOES ALL OF THIS FIT TOGETHER?
What have we discovered so far?
The original solfa syllables were Ut, Re, Mi, Fa, Sol, La.
These six solfa syllables were derived from the Gregorian chant Ut Queant Laxis. The chant Ut Queant Laxis has within its interpretation the mystery of using sound resonance as a basis for restoration of wholeness.
There are six repeating vibrational sound frequencies (396hz, 417hz, 528hz, 639hz, 741hz, and 852hz) found in the Bible in the book of Numbers. As accurate as possible, given our current tuning system, the notes corresponding to these ascending frequencies are G, G#, C, D#, F# and G#.
The frequency of 528hz is used, according to Dr. Lee Lorenzen, Ph.D., as a repairer of DNA, the hereditary code for life.
What can we do with what we have discovered?
We can use tuning forks that have been created to these exact frequencies to balance the chakras and etheric bodies.
We can incorporate the use of the tuning forks and/or the Gregorian chant, Ut Queant Laxis, with other balancing therapies (Reiki, polarity, acupressure, massage, color, crystal, etc.)
We can create meditation and other music that incorporates these note frequencies.
We can use a tone generator to reproduce these exact frequencies.
We can sing or chant these solfa syllables. As we sing or chant with understanding and clear intent, we create a powerful resonance not only within ourselves, but also within the collective consciousness.
We can chant in groups to create a powerful group resonance.
We can sing or chant not only the solfa syllables, but also the entire hymn, as a personal or group experience.
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References for Chapter One
Just Intonation: Doty, David B., The Just Intonation Primer, ©1993, 1994 The Just Intonation Network, 535 Stevenson Street, San Francisco, CA 94103
Pythagoras: http://www-groups.dcs.st-andrews.ac.uk (article by J. J. O’Connor and
E. F. Robertson; http://members.aol.com/Lambdom (International Lambdoma Research Institute); Article by Richard Leviton, senior writer at Yoga Journal.
St. Gregory the Great: www.christiansunite.com; www.poncacitynews.com
Guido d’Arezzo: www.stevenestrella.com; www.infoplease.com; www.xrefer.com; www.research.umbc.edu
Paul the Deacon: www.newadvent.org
Dr. Joseph Puleo: Horowitz, Leonard and Puleo, Joseph, Healing Codes for the Biological Apocalypse, Tetrahedron Publishing Group, 1999, 2000, ISBN: 0-923550-39-9
Hymn of St. John the Baptist (Ut Queant Laxis): www.powerofmusic.com; www.newadvent.org; http://hysy2.archives.nd.edu
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Footnotes
[1] Resonate means to receive larger vibrations that in effect will increase our lower vibrations.
[2] Resound means to sound again. We are restoring or remembering our former state of being.
[3] The Expanded and Enlarged translations have been painstakingly written using Latin dictionaries and Webster's Dictionary.
[4] According to Dr. Lee Lorenzen, Ph.D., mentioned in the book Healing Codes for the Biological Apocalypse (see references). Dr. Lorenzen also holds a patent on clustered water.