The 24 reduced Fibonacci numbers when placed around a circle, visibly generate the form of the 5 Platonic solids. (see previous post on blog of Paul bevan: https://tombedlamscabinetofcuriosities.wordpress.com)
This time around,we are going to look closely at how this strange phenomena occurs.
In Euclidean geometry, the Platonic solids present as being regular,convex polyhedrons. Their faces are congruent regular polygons, with the same number of faces meeting at each vertex. Within classical thought,there are five solids which meet this criteria; each of which is named according to its specific number of faces.
Plato in his work ‘Timaeus’ writing around C.350 BCE, made a connection between these 5 polyhedra and the classical elements.
He equated the tetrahedron with the element of fire,the cube with that of Earth,the octahedron with Air,the iscosahedron with Water and the dodecahedron with the quintessence or the heavens and the constellations.
In terms of a connection with Lurianic qabalah,Leonora Leet,in her book ‘The secret Doctrine Of The Kaballah’,equates the 5 Platonic solids with the ‘Partzufim‘; the five faces of God; Arech Anpin,Abba,Imma,Z’eir Anpin and Nukvah-The unmanifest,the father,the mother,son and daughter. As we neither have the time or space to peruse this connection in any depth,as this presents such a complex and detailed subject-its possibly best to leave it to you,the reader to decide whether to investigate this apparent connection in any greater depth.
The tetrahedron is the first manifested polyhedra,believed by Plato to equate with the element of fire.
in our Fibonacci circle,it is generated by the interaction of the star configuration formed by the 3,the 6 and the 9.
In qabalistic thinking,the tetrahedron is held to self-replicate into a star tetrahedron,as a primary manifestation of duality.In the instance of our device this means that it drops below and forms another tetrahedron from the remaining 3,6 and 9.
The vertices of this emergent star tetrahedron supply all the points of manifestation of the next two solids,The cube and the Octahedron,a pairing of solids which are held to manifest coterminously with each other.
The cube,equated with the element of Earth,again in its generation,is a product of the 3 6 and 9 matrix. Its 6 faces provide for the manifestation of the third solid,the octahedron,within which, its vertices are located at the the point of the centres of the cubes faces.
The octahedron,with its classical connection to the element of Air,is also like its partner,the cube,generated by the same 3-6-9 template.
We now come to the final pairing,the icosahedron (Water) and the dodecahedron (Quintessence),these differ markedly from the previous solids in that they are dependent upon a new template in order to manifest within the Fibonacci numbers.We now see that another star,one comprised of groupings of the 1-1-1 and 8-8-8 numbers now comes into play, in order to provide the relevant energetic pathways required to generate these two solids. Having studied the Metatron cube for some time in order to understand how these polyhedra emerged,it felt to us as though they did not manifest in a way that felt to fit in naturally with the schema-there were simply insufficient co-ordinates within the structure of the Merkabah/Metatron cube,to account fully for their presence within this design.It was only when the 24 reduced Fibonacci number pattern was added to the Metatron cube in its 15 degree increments that it became patently clear that these two solids were indeed integral components of the overall design.
The dodecahedron (The cosmos/Quintessence), sits comfortably within the matrix created by the 3-6-9 configuration and the 1-1-1/8-8-8 star.
Basic Music frequencies and relations
Just using this for relation as it depens on tuning. Interested in Schuman Frequencies
Sacred Geometery in music
Music also directly reflects the geometric structure of space-time. Here we see how the musical system called “the circle of fifths” perfectly maps to the cube octahedron, or what Buckminster Fuller called the “vector equilibrium” which is comprised of 6 pairs of equal and opposite vectors that perfectly match the 6 pairs of tri-tones (the interval that divides the 12-tone musical scale perfectly in half).
We already have the fractal geometry of the structure of the vacuum of space encoded into our musical systems!
Binaural beats were originally discovered in 1839 by physicist Heinrich Wilhelm Dove. He discovered when signals of two different frequencies are presented separately, one to each ear, your brain detects the phase variation between the frequencies and tries to reconcile that difference.
In doing so, as the two frequencies mesh in and out of phase, your brain creates its own third signal — called a binaural beat — which is equal to the difference between those two frequencies.
For example, if a frequency of 100 Hz is presented to your left ear, and a frequency of 105 Hz is presented to your right ear, your brain “hears” a third frequency pulsing at 5 Hz, the exact difference between the two frequencies.
Research has proven that introducing a binaural beat will cause the brain to begin resonating in tune with that beat. By creating a binaural beat at 10 Hz — an Alpha frequency — you can trigger your brain to resonate at that same 10 Hz frequency, automatically inducing brain activity in the Alpha range. This same technique can be used to quickly and easily guide your mind into any state.
When your brain begins to resonate with the binaural beat, or “follow” the beat, this effect is called the Frequency Following Response. This phenomenon was thoroughly researched and tested in 1973 by biophysicist Gerald Oster at Mount Sinai Hospital in New York City. His research on binaural beats and the Frequency Following Response was published in Scientific American and paved the way for further development in the area of auditory stimulation to enhance brain functioning.
Since that time, binaural beat technology has been endorsed by scores of doctors and scientists around the world.
By introducing a precise harmonically layered blend of frequencies to your brain via our audio technology, you can effortlessly achieve powerful states of focused concentration, deep relaxation and more, all while stimulating parts of your brain to work together in synchronization
33hz (note 33) is equivalent to base chakra which in turn is equivalent to Saturn… Are we being tuned to hang in the lower frequencies?
What are the Solfeggio frequencies?
Solfeggio frequencies make up the ancient 6-tone scale thought to have been used in sacred music, including the beautiful and well known Gregorian Chants. The chants and their special tones were believed to impart spiritual blessings when sung in harmony. Each Solfeggio tone is comprised of a frequency required to balance your energy and keep your body, mind and spirit in perfect harmony.
|The main six Solfeggio frequencies are:396 Hz – Liberating Guilt and Fear417 Hz – Undoing Situations and Facilitating Change528 Hz – Transformation and Miracles (DNA Repair)
639 Hz – Connecting/Relationships
741 Hz – Expression/Solutions
852 Hz – Returning to Spiritual Order
They were used in over 150 Gregorian Chants
Where do these tones come from?
According to Professor Willi Apel, the origin of the ancient Solfeggio scale can be traced back to a Medieval hymn to John the Baptist. The hymn has this peculiarity that the first six lines of the music commenced respectively on the first six successive notes of the scale, and thus the first syllable of each line was sung to a note one degree higher that the first syllable of the line that preceded it. Because the music held mathematic resonance, the original frequencies were capable of spiritually inspiring mankind to be more “god-kind”.
|The original Solfeggio scale was developed by a Benedictine monk, Guido d’Arezzo (c. 991 AD – c. 1050 AD). It was 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-Mi-Fa-Sol-La. The syllables for the scale were taken from a hymn to St. John the Baptist, Ut Queant Laxis, written by Paulus Diaconus.||
In the mid-1970’s Dr. Joseph Puleo, a physician and America’s leading herbalist, found six electro-magnetic sound frequencies that corresponded to the syllables from the hymn to St. John the Baptist.
How were the frequencies discovered?
According to the documentation provided in “Healing Codes for the Biological Apocalypse“, Dr. Joseph Puleo was introduced, through an open vision, to 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.||
Pythagoras of Samos
Dr. Joseph Puleo found repetitions 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 = 3Verse 18 = 1 + 8 = 9Verse 24 = 2 + 4 = 6||Verse 30 = 3 + 0 = 3Verse 36 = 3 + 6 = 9Verse 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.
The secret meanings of the ancient syllables
As you already know, the syllables used to denote the tones are: Ut, Re, Mi Fa, Sol, La. They were taken from the first stanza of the hymn to St. John the Baptist:
Ut queant laxis Resonare fibris
Mira gestorum Famuli tuorum
Solve polluti Labii reatum
Literal translation from Latin: “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.”
In other words, so people could live together in peace and communicate in harmony about the miracle in their lives, and how God blessed them to produce this “magic”, people’s true unpolluted spiritual natures required revelation. The above text seems to suggest that Solfeggio notes open up a channel of communication with the Divine.
|Each syllable was thoroughly studied by Dr. Puleo and other professional researchers. David Hulse, a sound therapy pioneer with over 40 years of experience, described the tones as the following:
UT – 396 Hz – turning grief into joy, liberating guilt & fear
RE – 417 Hz – undoing situations & facilitating change
MI – 528 Hz – transformation & miracles, repairing DNA
FA – 639 Hz – relationship, connecting with spiritual family
SOL – 741 Hz – expression/solutions, cleaning & solving
LA – 852 Hz – returning to spiritual order
Click here for detailed description of each tone.
Why the modern world forgot about them
The Solfeggio frequencies were lost because throughout history different tuning applications have been used. 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 from about the 16th century and used today is known as “Twelve-Tone Equal Temperament”. According to Joachim Ernst-Berendt, the 12-Tone Equal Temperament mistunes all consonant intervals except the octave. Our modern scale can create situations such ‘boxed-in’ thinking, stuffed and suppressed emotions, fear-based or lack consciousness, all of which then tend to manifest into physical symptoms called ‘dis-ease’ or disease.
Our modern day musical scale is out of sync when compared with the original Solfeggio scale. If we want to bring harmony in our lives, we need to replace the dissonant western scale with a web of subtle and clear intervallic relationships of the Solfeggio music. Let the music become once again a tool to raise human nature and a method to connect you with the Source.
Your secret key to the Universe
Nikola Tesla, the great genius and father of electromagnetic engineering, had once said, “If you only knew the magnificence of the 3, 6 and 9, then you would hold a key to the universe”. The 3, 6, and 9 are the fundamental root vibrations of the Solfeggio frequencies.
Albert Einstein stated: “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.” All matter beings vibrate at specific rates and everything has its own melody. The musical nature of nuclear matter from atoms to galaxies is now finally being recognized by science.
That is why these frequencies are so powerful. They can literally bring you back to the original tones of the heavenly spheres and put your body into a balanced resonance. Solfeggio music is the key to the Universe. You can either throw it away or you can use it to find healing and harmony, health and well-being. Just play the music!