Satan was an angel. The name Lucifer came\nabout because of a mistranslated Hebrew scripture in Isaiah 14:12 which had\nnothing to do with Satan but was discussing a King of Babylon Nebuchadnezzar.\nOne of his titles was \u201cmorning star\u201d in Hebrew which a\ntranslator converted into the Latin Lucifer which translated to English\nreads “light bringer or bearer” not “morning star”.<\/p>\n\n\n\n
According to the King James Bible-based Strong’s Concordance, the original Hebrew<\/em> word means “shining one, light<\/em>–bearer<\/em>“, and the translation given in the King James text is the Latin name for the planet Venus, “Lucifer”. It is accepted by Bible scholars that the\nname Lucifer was mistranslated. This particular name allegedly for Satan only\nappears in the original 1611 King James Bible and any direct copies of it.<\/p>\n\n\n\n Most bibles render this verse as it appears below: King Nebuchadnezzar was stricken with a\nmental illness, by Jehovah\u2019s hand due to his pride, and lived like a beast in\nthe fields for 7 years until Jehovah restored his sanity. That is what these\nverses are referring to. (See Daniel 4:28\u201334).<\/p>\n\n\n\n The Bible states that Satan or the Devil\nwas a high ranking angel in heaven. He was a Cherub as described in the Book of\nEzekiel. Ezekiel 28:13\u201315 NKJV: 13 You\nwere in Eden, the garden of God; Every precious stone was your covering: The\nsardius, topaz, and diamond, Beryl, onyx, and jasper, Sapphire, turquoise, and\nemerald with gold. The workmanship of your timbrels and pipes Was prepared for\nyou on the day you were created. 14 “You were the anointed\ncherub who covers; I established you; You were on the holy mountain of God; You\nwalked back and forth in the midst of fiery stones. 15 You were perfect in\nyour ways from the day you were created, Till iniquity was found in you.<\/p>\n\n\n\n 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. Part2:<\/strong><\/p>\n\n\n\n This vocal note scale (do, re, mi,\nfa, so, la ,ti, do) is known as solfege and is adapted from an invention by an\n11th century monk named Guido D’Arezzo.<\/p>\n\n\n\n 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. It is said that the original musical\nscale (the Solfeggio Frequencies are found in this Hymn), of which the first\nstanza reads:<\/p>\n\n\n\n Ut queant laxis Translated as: The hymn is sung to a Gregorian\nchant, technically the original do-re-mi<\/em> music. Indeed, the\n6-tone scale is said to be widely used in Gregorian Chant thereafter. 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<\/em> 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. How the Solfeggio Frequencies were discovered.<\/strong><\/p>\n\n\n\n Leading on from what Apel had noted,\nDr Joseph Puleo, a neuropathic physician and one of the US\u2019 leading herbalists\nbegan to research the Solfeggio frequencies in the mid-1970s. Puleo deciphered them as follows:<\/p>\n\n\n\n UT \u2013 396 Hz \u2013 Liberating Guilt and Fear 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. Modern science has perhaps begun to recognize\nwhat the ancient mystics and wise men have told us for centuries: that\neverything is in a constant state of vibration. Everything down to the\nsmallest physical particle to the things we cannot perceive with our (yet)\nlimited senses.<\/p>\n\n\n\n The most elemental state of\nvibration is that of sound. Everything has an optimum range of vibration\n(frequency), and that rate is called resonance.<\/p>\n\n\n\n Why Was the Solfeggio Scale Lost? Some will tell you it\u2019s a conspiracy, and that it was quite deliberate. Indeed, there is a hint of truth in this. Some argue that we couldn’t have\nknown the exact tone (from which we can derive the frequencies) that Guido D’\nArezzo originally taught this melody in. Others say that since Guido knew the chant\nrepertoire (because he was a monk) and was able to write the melodies down, we\nknow what those melodies actually sounded like and have a clear reference.<\/p>\n\n\n\n It is said that ancient tuning practices used a system of tuning known as \u201cJust Intonation\u201d. Some argue our modern scale is oppressive in that it creates \u201cboxed-in\u201d 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. How Does the solfeggio relate to king David?<\/strong> 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. 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. 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\u2014billions of people \u2013 playing with listening to meaningless tonal patterns, occupied and preoccupied for much of their time by what they call \u2018music\u2019.<\/p>\n\n\n\n The Solfeggio Frequencies<\/strong><\/strong><\/p>\n\n\n\n Two things are very real here.
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!<\/p>\n\n\n\n
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!<\/p>\n\n\n\n
\nWhen Satan was in Eden he decided\nthat he was just as good as God and coveted the earth and mankind. He rebelled\nagainst Jehovah God, the Creator, induced Adam to join that rebellion and is\nresponsible for the mess the world is in today. At least that is how it is\ngenerally understood but if you read the previous article, the truth behind the\nstory is very different.<\/p>\n\n\n\n
Satan: Resister, adversary, rebel.
Devil: Deceiver, Liar. (The \u201cfather of the lie\u201d as Jesus called him).<\/p>\n\n\n\n
Solfege in its original form can be found in Hymn to St. John the Baptist. <\/em>It begins \u201cut (rather than do), re, mi, fa, so, la.\u201d
And this is where the Solfeggio Frequencies story resonates from.
Guido put a melody to the Hymn to St. John the Baptist<\/em> 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\u2019s system of sight singing and musical notation today.<\/p>\n\n\n\n
resonare fibris
Mira gestorum
famuli tuorum,
Solve polluti
labii reatum,
Sancte Iohannes.<\/p>\n\n\n\n
So that your servants may, with loosened voices, resound the wonders of your deeds, clean the guilt from our stained lips, O Saint John.<\/p>\n\n\n\n
\nIf you didn’t know, Gregorian chant is a form of unaccompanied sacred\nsong with its roots in the Roman Catholic Church. It developed mainly in\nwestern and central Europe during the 9th and 10th centuries, with later\nadditions and redactions.<\/p>\n\n\n\n
And this was just half of the story\u2026<\/p>\n\n\n\n
\nIn his examination of the Bible, he found in Chapter 7, Verses 12-83\nthat there were a pattern of six repeating codes around a series of sacred\nnumbers 3, 6 and 9.
\nWhen he deciphered these using the ancient Pythagorean method of\nreducing the verse numbers to their single digit integers (now known as modular\n9 arithmetic), the codes revealed a series of six electromagnetic sound\nfrequencies that corresponded to the syllables from the Hymn to St.\nJohn the Baptist.<\/em>
\n\u201cUT, RE, MI, FA, SO, LA.\u201d
\nEach is said to correspond to a colour and hertz frequency with its own\nquality.<\/p>\n\n\n\n
RE \u2013 417 Hz \u2013 Undoing Situations and Facilitating Change
MI \u2013 528 Hz \u2013 Transformation and Miracles (DNA Repair) and derives from the phrase \u201cMI-ra gestorum\u201d. In Latin it means \u201cmiracle\u201d. This it is claimed is the exact frequency used by genetic biochemists to repair broken DNA \u2013 the genetic blueprint upon which life is based)
FA \u2013 639 Hz \u2013 Connecting\/Relationships
SOL \u2013 741 Hz \u2013 Awakening Intuition
LA \u2013 852 Hz \u2013 Returning to Spiritual Order<\/p>\n\n\n\n
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.<\/p>\n\n\n\n
In 1100 CE, a new secular music movement began. This separation of Church from music rapidly gained pace. This new \u201cfolk\u201d 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.<\/p>\n\n\n\n
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 \u201cTwelve-Tone Equal Temperament\u201d.
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. <\/p>\n\n\n\n
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. <\/p>\n\n\n\n
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\u2019t we? As it\u2019s all part of the blueprint of creation.
The mathematics of the tones matches the mathematics of the psalms (gematria \u2013 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. \u2013 Wikipedia<\/p>\n\n\n\n
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\u2014the Sun, Moon, and planets\u2014as a form of musica<\/em> (the Medieval Latin term for music). This \u201cmusic\u201d 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. \u2013 Ref: Wikipedia
And now, while we are considered far more advanced, we have thrown away the baby with the bathwater. <\/p>\n\n\n\n
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.<\/p>\n\n\n\n
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.<\/p>\n\n\n\n
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