Part 1 : Satan & Lucifer
Part 2: solfeggio
Satan was an angel. The name Lucifer came about because of a mistranslated Hebrew scripture in Isaiah 14:12 which had nothing to do with Satan but was discussing a King of Babylon Nebuchadnezzar. One of his titles was “morning star” in Hebrew which a translator converted into the Latin Lucifer which translated to English reads “light bringer or bearer” not “morning star”.
According to the King James Bible-based Strong’s Concordance, the original Hebrew word means “shining one, light–bearer“, and the translation given in the King James text is the Latin name for the planet Venus, “Lucifer”.
Isaiah 14:12 King James Bible: 12 How art thou fallen from heaven, O Lucifer, son of the morning! how art thou cut down to the ground, which didst weaken the nations!
It is accepted by Bible scholars that the name Lucifer was mistranslated. This particular name allegedly for Satan only appears in the original 1611 King James Bible and any direct copies of it.
Most bibles render this verse as it appears below:
Isaiah 14:12 Complete Jewish Bible, New American Standard Bible, Lexham English Bible, New International Version, and many others:
12 How you have fallen from heaven, morning star, son of the dawn! You have been cast down to the earth, you who once laid low the nations!
King Nebuchadnezzar was stricken with a mental illness, by Jehovah’s hand due to his pride, and lived like a beast in the fields for 7 years until Jehovah restored his sanity. That is what these verses are referring to. (See Daniel 4:28–34).
The Bible states that Satan or the Devil
was a high ranking angel in heaven. He was a Cherub as described in the Book of
When Satan was in Eden he decided that he was just as good as God and coveted the earth and mankind. He rebelled against Jehovah God, the Creator, induced Adam to join that rebellion and is responsible for the mess the world is in today. At least that is how it is generally understood but if you read the previous article, the truth behind the story is very different.
Ezekiel 28:13–15 NKJV: 13 You were in Eden, the garden of God; Every precious stone was your covering: The sardius, topaz, and diamond, Beryl, onyx, and jasper, Sapphire, turquoise, and emerald with gold. The workmanship of your timbrels and pipes Was prepared for you on the day you were created. 14 “You were the anointed cherub who covers; I established you; You were on the holy mountain of God; You walked back and forth in the midst of fiery stones. 15 You were perfect in your ways from the day you were created, Till iniquity was found in you.
Those are the facts about the devil according to scripture. The nouns Satan and Devil are not names as such, they are descriptive of him.
Satan: Resister, adversary, rebel.
Devil: Deceiver, Liar. (The “father of the lie” as Jesus called him).
This vocal note scale (do, re, mi, fa, so, la ,ti, do) is known as solfege and is adapted from an invention by an 11th century monk named Guido D’Arezzo.
D’Arezzo made many improvements in music theory and reworked standard notation to be more user-friendly by adding time signatures. To this day, this innovation has affected every modern vocalist.
Solfege in its original form can be found in Hymn to St. John the Baptist. It begins “ut (rather than do), re, mi, fa, so, la.”
And this is where the Solfeggio Frequencies story resonates from.
Guido put a melody to the Hymn to St. John the Baptist to teach his students how to sight-read a piece of music.
Prior to this melody system, chants for monks were passed down by rote learning and may have taken up to 10 years to learn all they had to.
With just small changes, we still use Guido’s system of sight singing and musical notation today.
It is said that the original musical scale (the Solfeggio Frequencies are found in this Hymn), of which the first stanza reads:
Ut queant laxis
So that your servants may, with loosened voices, resound the wonders of your deeds, clean the guilt from our stained lips, O Saint John.
The hymn is sung to a Gregorian
chant, technically the original do-re-mi music. Indeed, the
6-tone scale is said to be widely used in Gregorian Chant thereafter.
If you didn’t know, Gregorian chant is a form of unaccompanied sacred song with its roots in the Roman Catholic Church. It developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions.
Professor Willi Apel, a German-American musicologist and noted author of a number of books devoted to music, noted that upon analysis, what’s peculiar about Hymn to St. John the Baptist is that the first six lines of the music commence respectively on the first six successive notes of the scale, and therefore the first syllable of each line is sung to a note one degree higher than the first syllable of the previous line.
And this was just half of the story…
How the Solfeggio Frequencies were discovered.
Leading on from what Apel had noted,
Dr Joseph Puleo, a neuropathic physician and one of the US’ leading herbalists
began to research the Solfeggio frequencies in the mid-1970s.
In his examination of the Bible, he found in Chapter 7, Verses 12-83 that there were a pattern of six repeating codes around a series of sacred numbers 3, 6 and 9.
When he deciphered these using the ancient Pythagorean method of reducing the verse numbers to their single digit integers (now known as modular 9 arithmetic), the codes revealed a series of six electromagnetic sound frequencies that corresponded to the syllables from the Hymn to St. John the Baptist.
“UT, RE, MI, FA, SO, LA.”
Each is said to correspond to a colour and hertz frequency with its own quality.
Puleo deciphered them as follows:
UT – 396 Hz – Liberating Guilt and Fear
RE – 417 Hz – Undoing Situations and Facilitating Change
MI – 528 Hz – Transformation and Miracles (DNA Repair) and derives from the phrase “MI-ra gestorum”. In Latin it means “miracle”. This it is claimed is the exact frequency used by genetic biochemists to repair broken DNA – the genetic blueprint upon which life is based)
FA – 639 Hz – Connecting/Relationships
SOL – 741 Hz – Awakening Intuition
LA – 852 Hz – Returning to Spiritual Order
To quote Nikola Tesla, the late and great Serbian-US genius and father of electromagnetic engineering: If you only knew the magnificence of the 3, 6 and 9, then you would hold a key to the universe.
And the 3, 6, and 9 are the fundamental root of the Solfeggio Frequencies.
The number 9 certainly has special qualities. Multiply it by any number between 1 and 10 and you get a double-digit number the individual integers of which add up to 9.
Albert Einstein said: 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.
What he meant was that all matter vibrates at specific rates and everything has its own melody.
Modern science has perhaps begun to recognize what the ancient mystics and wise men have told us for centuries: that everything is in a constant state of vibration. Everything down to the smallest physical particle to the things we cannot perceive with our (yet) limited senses.
The most elemental state of vibration is that of sound. Everything has an optimum range of vibration (frequency), and that rate is called resonance.
Why Was the Solfeggio Scale Lost? Some will tell you it’s a conspiracy, and that it was quite deliberate. Indeed, there is a hint of truth in this.
In 1100 CE, a new secular music movement began. This separation of Church from music rapidly gained pace. This new “folk” music was looked down upon as pagan and blasphemous by the Church, but regardless, modern music moved on and gave birth to many great composers.
Lost in the midst, was the ancient scale. The Solfeggio Frequencies.
Some argue that we couldn’t have known the exact tone (from which we can derive the frequencies) that Guido D’ Arezzo originally taught this melody in. Others say that since Guido knew the chant repertoire (because he was a monk) and was able to write the melodies down, we know what those melodies actually sounded like and have a clear reference.
It is said that ancient tuning practices used a system of tuning known as “Just Intonation”.
The method of Just Intonation featured pure intervals between every note that were mathematically related by ratios of small whole numbers leading to a much purer sound.
The tuning practice adopted for Western cultures during the 16th century and used today is known as “Twelve-Tone Equal Temperament”.
According to the late Joachim Ernst-Berendt, a German music journalist who specialized in jazz, the 12-Tone Equal Temperament mistunes all consonant intervals except the octave.
Some argue our modern scale is oppressive in that it creates “boxed-in” thinking and suppressed emotions, is fear-based or lacking in consciousness, all of which then tend to manifest in negative physical symptoms. The same critics say our modern day musical scale is out of sync and dissonant when compared with the original Solfeggio Frequencies scale and that is why people resonate quickly to the Solfeggio scale. The same can be said of A=432 concert pitch, which many musicians now choose as a preference as it is closer to the natural frequency resonance of the Earth.
When we are in resonance, we are in balance. Every organ and every cell in our body absorbs and emits sound with particular optimum resonate frequency.
For example, 528 Hz tuned music is said to create resonance in our physical, mental, emotional and spiritual body.
How Does the solfeggio relate to king David?
Okay, so this is where the rabbit hole goes deeper. I could have tied this in earlier but I’m trying my best to separate out the elements so that you aren’t overwhelmed with information. In essence, this is a separate issue, but one that you’re likely to come across and one that does tie in somewhat with Dr Joseph Puleo’s research.
Christians say that King David passed the secret scale on to Solomon, and sometime after Solomon the tones were lost in history.
David was inspired to create the six tones with the strings on his lyre. These six tones are all used within the psalms, also created by David. But we know different don’t we? As it’s all part of the blueprint of creation.
The mathematics of the tones matches the mathematics of the psalms (gematria – see definition below). Solomon used the tones and the gematria in the creation of the Song of Songs, also a psalm.
Gematria is an Assyro-Babylonian-Greek system of alphanumeric code or cipher later adopted into Jewish culture that assigns numerical value to a word, name, or phrase in the belief that words or phrases with identical numerical values bear some relation to each other or bear some relation to the number itself as it may apply to Nature, a person’s age, the calendar year, or the like. A single world can yield multiple values depending on the system used. – Wikipedia
During the creation of Gregorian chant, the Solfeggio tones were supposedly rediscovered and based on five notes. Later, a sixth note was added. These were based on the discoveries of Pythagoras and his harmony of the spheres.
Musica universalis (literally universal music), also called Music of the spheres or Harmony of the Spheres, is an ancient philosophical concept that regards proportions in the movements of celestial bodies—the Sun, Moon, and planets—as a form of musica (the Medieval Latin term for music). This “music” is not usually thought to be literally audible, but a harmonic, mathematical or religious concept.
The idea continued to appeal to thinkers about music until the end of the Renaissance, influencing scholars of many kinds, including humanists. Further scientific exploration has determined specific proportions in some orbital motion, described as orbital resonance. – Ref: Wikipedia
And now, while we are considered far more advanced, we have thrown away the baby with the bathwater.
Many Christians say the Solfeggio Frequencies literally bring you back to the original tones of the heavenly spheres and put your body into a balanced resonance and that Solfeggio music is the key to the universe. Others argue that religion has hijacked a more logical concept and that while music has healing properties, specific tones do not have the medical research to back them up.
Looking back at the scientific papers referenced earlier, music-based interventions have a positive impact on pain, anxiety, mood disturbance and quality of life for cancer patients. Advances in neurobiology may provide insight into the potential mechanisms by which music affects these outcomes. However, it is generally agreed that more research is needed to determine what subpopulation of cancer patients is most likely to respond to music-based interventions, what interventions are most effective for individual outcomes and what measurement parameters best gauge their effectiveness. In other words, it has not been adequately researched to peer standard and involves too small a group of subjects with poor methodology. But if their true place in nature was known it would all be a different ballgame.
Oliver Sacks, Clinical Professor of Neurology at Albert Einstein College of Medicine in New York, says: What an odd thing it is to see an entire species—billions of people – playing with listening to meaningless tonal patterns, occupied and preoccupied for much of their time by what they call ‘music’.
The Solfeggio Frequencies
Two things are very real here.
Using simple mathematics, Pythagoras was able to describe the basis of almost all musical scales, including the pentatonic, the Western, the chromatic and the Arabic scales.
Pythagoras could answer the question: Why are these notes and scales special? The answer is that they are formed in a simple, systematic, and mathematical manner. Most importantly, Pythagoras showed that the notes are not random or arbitrary and that they should be understood on a deeper level.
Pythagoras’s discoveries bring up a deeper ‘psychology’ question: scales were first developed by ear: we – and the Neanderthals – chose these particular notes before there was any understanding of mathematics or physics. The notes were chosen simply because they were pleasing to the ear. But, as it turns out, the scales also follow basic mathematical constructs. So the question is, what does this say about our likes and emotions? Is there a mathematical/physical basis to them, as well? ~ Source: Music of the Spheres & Lessons of Pythagoras https://www.phys.uconn.edu/~gibson/Notes/Section3_7/Sec3_7.htm
So many important questions that have now been answered, yet finds only few willing ears, but that day will come whereby they will say, it was never lost but only a few knew and ensured it was secured throughout history for the benefit of humanity.
A frequency is a specific oscillation per length of time. The ancient solfeggio frequencies are a spiritual thing. Harmony and resonance with nature. The ancient solfeggio frequencies refer to the note ‘A’ resonating at 432 hz and not the A-440 hz that the standard tuning was changed to in 1936 by Joseph Goebbels, the Nazi propaganda minister. A-440 is not in resonance with nature. This may be just a conspiracy theory to most, but why would such an man lead an international campaign to change the orchestral tuning from A-432 which originally comes from the resonating frequency of the tuning of the ancient prayer bowls tuned through years of meditation, to A-440?
Pythagoras is rolling over in his grave. Nature is very specific about the frequencies it has chosen to resonate at; any deviation, is not resonating with the harmony of nature. — Cymatics clearly shows a break in the flow of energy at A-440 whereas A-432 will transfer the energy to all parts of a specific resonating geometrical shape. You are correct about the meaning of solfeggio but you clearly do not understand the importance of the ancient Pythagorean solfeggio scale. Pythagoras ‘re-discovered’ it back then… so it is an ancient kind of thing. Playing music in the solfeggio at A-432hz is the ancient resonating frequencies that harmonize with nature. A-440hz is a 1936 Goebbels Nazi kind of thing… A Solfeggio is the mathematical distance between the notes of a scale regardless of what frequency (hz) it is resonating at the Pythagorean method of numeral reduction. Using this method, he discovered the pattern of six repeating codes in the Book of Numbers, Chapter 7, verses 12 through 83.
The Pythagorean method is a simple reduction method, used to turn big numbers into single digits. The values of all digits in the number are added up. When after the first addition the number still contains more than one digit, the process is repeated. Here’s an example: 456 can be reduced to 4+5+6 = 15, and subsequently reduced to 1+5=6. So the number 456 reduces eventually to the single digit 6.
Repetitions can be found of a single issue or subject in the Book of Numbers. In Chapter 7, verse 12 he found a reference to the first day, the second day was mentioned in verse 18, the third day in verse 24, and so forth until the final reference in verse 78 which is speaking of the twelfth day.
The Pythagorean reduction of these verse numbers is:
Verse 12 = 1 + 2 = 3, Verse 18 = 1 + 8 = 9, Verse 24 = 2 + 4 = 6
Verse 30 = 3 + 0 = 3, Verse 36 = 3 + 6 = 9, Verse 42 = 4 + 2 = 6
…until verse 78
Do you see the repetition of 396? This is the first frequency.
He found the next frequency 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 he discovered a pattern. This pattern is 417. It is the second frequency. The rest of the frequencies were found using the same method.
And here you can see it again, the 6 days of creation, the seventh was rest. And end up on top of the one, the next is 13th making it 4 or 174. etc. This and only this, is what Plato used. And not just because of the solfeggio sequence as I have explained before. Like the fact that only two legs contain prime numbers. Yes all is linked in, down to the periodic table.
Now while I have explained it in detail in previous articles and something you should know by now, I know a visual expression will help some of you how it interlinks together, this is of course the A or 432.
Moshiya van der Broek