S.O.L.F.A. Sound Therapy
Sound Of Life Frequency Attunement"also known as the Ancient Solfeggio Scale"
Recorded at Talking Elements Studio & Productions
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Additional CD Baby Digital Download
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The Basics All of creation manifests according to its own unique harmony of sound. Definitions: solfa 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 used the already existing term of "solfa" as an acronym for the phrase Sound Of Life Frequency Attunement. 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 originally taken from a Gregorian chant written for John the Baptist called Ut Queant Laxis (listen to the chant). 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 frequencies are 396hz, 417hz, 528hz, 639hz, 741hz, and 852hz. The exact frequencies used to sing the original solfeggio scale are unknown because thoughout 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. Ancient tuning practices used a system of tuning known as "Just Intonation." The tuning practice adopted for western cultures from about the 16th century and used today is know as "Twelve-Tone Equal Temperament." Music of modern man is basically in a box of limitations. A quote from the book, The Just Intonation Primer, written by David B. Doty is as follows: of equal temperament, which deviate from simple rations to varying degrees, sound rough, restless, or muddy in comparison." "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. 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 and 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. Paul was a medieval historian and one of his most important works was the history of the Lombards, a Germanic tribe that established a kingdom in northern Italy. Gregory the Great is also 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. Dr. Puleo is a naturopathic doctor currently living in northern Idaho. Through a series of unusual circumstances beginning in 1974, Dr. Puleo has been guided into the unraveling of certain mathematical patterns 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 numeric patterns coded into the book of Numbers, chapter 7, verses 12-89. These numeric patterns are: 396, 417, 528, 639, 741, and 852. The fact that these numerical patterns can be used as vibrational frequencies was confirmed when it was discovered that the frequency of 528hz is used in the restoration of DNA. It has a powerful effect upon the water molecules that support the DNA helix (according to Dr. Lee Lorenzen, Ph.D.). 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, 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. Translation of "Ut Queant Laxis" 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 Literal translation: In order that the slaves might resonate (resound) the miracles (wonders) of your creations with loosened (expanded) vocal chords. Wash the guilt from (our) Polluted lip. Saint John. Expanded translation: 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. The Power of Intent and Intuition Applied 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. Quick perception of truth or knowledge without conscious attention or reasoning. 2. That which is perceived or known intuitively. 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? 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 (resound 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. |
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