DeepInfo.com: Sound Healing - Music Therapy

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The Bible's Healing Frequencies/Codes According to Len Horowitz's book Healing Codes, the Bible gives us the optimum frequencies for Healing in Music. They are the original hexatonic tones used in the late middle ages, as in the Hymn to St. John the Baptist,and later used by Haydn in his 96th Symphony called the Miracle. It is alleged that they are the original (lost) tones used in early biblical times. The frequencies are derived from calculations of verse placement and repetitions in Numbers 7:12-83. The frequencies are: 396,417,528,639,741,852 (G3,G#3,C4,E4,F#4, and Ab4 ???) The optimum scale is hexatonic, not the 5-scale or modern 7-scale and that is why late-middle-age musical instruments were hexachords. According to this, the 5-scale and 7-scale octaves resonate disharmonically to our organisms. Research appears to show them naturally resonating at some of these frequencies and that water subjected to these frequencies structure their molecules into specific optimum formations, like snowflakes. Are these different from the Pure Pythagorean Intervals and Just Intervals? I think these notes look odd, because we settled on the 7-scale and the frequency of each note was set by committee (like Council of Nicea decided which Books would be in the Bible?) Note that the original Solfeggio was based on a 6-scale and was drawn from the Hymn to St. John the Baptist, using the first letters of each line. Ut, Re, Mi, Fa, Sol, La They mickey-moused it later to add "Ti" to get the 7-scale. UT queant REsonare fibris MIra gestorum FAmuli tuorum SOlve polluti LAbii reatum Sancte Iohannes. Sound Healing: Ascension Convergence Research (Theory that via Vibrations, the Earth will enter a new dimension) Cymatics: School of Cymatics, Reno, NV Harmonik - Urtone moch ar-rooke Ralph Losey: Primasounds PrimaSounds by Ralph Losey unique musical scale invented by Professor Arnold Keyserling of the Academy of Art, University of Vienna, Austria. Celtic Harp Celtic Harp was considered the most soothing hexacord on earth: www.patrickball.com The harp that Patrick plays is a splendid recreation of that legendary Celtic instrument made by the master harp builder Jay Witcher of Houlton, Maine. Like its ancestors, its thirty-two strings are made of solid brass and its body is made of hardwood (maple). It is tuned diatonically and tends to be set in the key of F or G. Like his ancestors, Patrick plays it with his fingernails. Harp Therapy Harp Therapy: patrickball.com The harp that Patrick plays is a splendid recreation of that legendary Celtic instrument made by the master harp builder Jay Witcher of Houlton, Maine. Like its ancestors, its thirty-two strings are made of solid brass and its body is made of hardwood (maple). It is tuned diatonically and tends to be set in the key of F or G. Like his ancestors, Patrick plays it with his fingernails. Original Do-Re-Mi = Ut-Re-Mi 396 Ut 417 Re 528 Mi 639 Fa 741 Sol 852 La Numbers 7:12-83 Psalms 120-124 1 Corinthians Haydn 96th Miracle 5 scale 0?-1100 A.D. 6 scale 1100-1600 A.D. (Late Middle Ages) 7 scale 1700+ A.D. Renaissance UT queant REsonare fibris MIra gestorum FAmuli tuorum SOlve polluti LAbii reatum Sancte Iohannes. The ut-re-mis became our do-re-mis; the missing seventh note was added to the hexachord in late medieval times (called "si" [from "Sancte Iohannes"], and later "ti"), and the "ut" changed to "do" (from "dominus") shortly after 1600. "Ut" turns up in the word gamut. He also developed a system for indicating the notes to singers by pointing to the joints of his left hand (the "Guidonian Hand" system). Signal systems like these are called chironomy. For more on the do-re-mis, see scale. hexachord from medieval music theory, a six-note scale of the form tone-tone-semitone-tone-tone, such as C D E F G A or G A B C D E. It was used from about the 11th century to about the 16th, and is said to have had its notes labelled ("ut-re-mi") by Guido d'Arezzo, who recommended the use of three hexachords based on C, F, and G. If the singers needed other notes, hexachords could be merged by pivoting on a common note. About the time of the Renaissance, another note was added to make a seven-note scale (eight with the octave). In the C system shown above, this seventh note was either "b-soft" (our Bb), or "b-hard" (our B natural). Compare with its more popular cousin in folk, the pentatonic scale. In England from the late 16th century, the notes of the hexachord were labelled fa-so-la-fa-so-la, which was called, not surprisingly, "fasola". The seventh note ("mi") was added about 1600 to give an octave. No one seemed worried by the repetition of the syllables or the out-of-place "mi", and instead of causing confusion, it was said by a 1654 Playford music tutor to ease things for its practitioners. Eventually it lost out to the do-re-mi system and the convenience of the movable do. The expanded hexachord and its fasola syllables survive in the music of sacred harp singing. hexatonic scale any scale comprised of six notes, not counting the octave, such as the hexachord. Compare with pentatonic scale. John Beaulieu, American polarity and music therapist. In his book Music and Sound in the Healing Arts biosonicenterprises.com www.healingmusic.org/images/Newsletter/Science_Of_Sound.htm Bibliography www.tama-do.com FABIEN MAMAN = : The Role of Music in the Twenty-First Century, Raising Human Frequencies, Sound Acupuncture, Healing with Sound, Color and Movement Halpern, Steve: major-key arpeggios two books on his theories: {-Tuning the Human Instrument} and {-Sound Health}. Sound Health : The Music and Sounds That Make Us Whole by Steven Halpern, Louis M. Savary ASIN: 0060636718 Harper & Row, 1985 Halpern, Steven, TUNING THE HUMAN INSTRUMENT: AN OWNERS MANUAL, Spectrum, 1980 Halpern, Steven. Tuning the Human Instrument: An Owner's Manual. Belmont, CA: Spectrum Research Institute, 1978 152.15 Halpern, Steven. TUNING THE HUMAN INSTRUMENT: AN H195t OWNER'S MANUAL. 1978. 152.15 Halpern, Steven, and Louis Savary. SOUND HEALTH: THE H195s MUSIC AND SOUNDS THAT MAKE US WHOLE. 1985

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