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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
Tesla's Secret

Report: 2012 - Antichrist Identity


2012 - The Antichrist Identity Full 3 Part Series
Get the truth on 2012, the Antichrist and his identity based on recent discoveries on the covert plans of the Illuminati who are master-minding his coming?

Book:

DVD:





Tesla's Secret

Brain Waves:

Here are some sites found with a quick search on Altavista.com with: +alpha +beta +"brain wave" +Hz
The human brain uses certain specific frequencies for different states.
Yogis can harness these frequencies to balance perfectly. If we can balance them, we can heal and grow.
If you're aware of how electropollution can cause you problems, you can better remedy it.
Neurotech
hscti.com
BrainWave Generator Frequency Presets
BrainWave Generator (Free/$40)
Altered States from Binaural Beats
HAARP
several other researchers have pointed out that in the future operational phases of the program, EMF waves will be produced within the atmosphere that are in the same frequency band as human brain waves. Our conscious and unconscious activities have been found to be controlled by brain waves in the range from 1 to about 35 Hz. Our conscious activity is regulated by brain waves in the 14-35 Hz range (Beta). Our unconscious and higher conscious activity is in the range of 8-14 Hz (Alpha). Our relaxed and deeply relaxed states are in the ranges of 4-8 Hz (Theta) and 1-4 Hz (Delta) (Hurtak, J., 1997). As the frequency decreases, the effect is more pronounced and more unconscious. The effect of large power EM radiations pulsing though the atmosphere on living creatures and human consciousness in these frequency ranges is completely unknown!
It has also been shown that both ELF and VLF radiations can affect and entrain human brain wave patterns in ways that are against that of the individual's will (Hurtak, J., Aug. 1996 - Hurtak, J. J., "Effects of ELF and VLF on the Human Mind", Art Bell Radio Show Program Tape No. 960830C, Aug. 1996.).

altered-states.net/mainpage.htm
Controllers (UFO abductions???)

Earthquakes at 3.8Hz?:

"signals from 3.8 to 4.0 Hz were recorded beginning two weeks before the quake"

Pyramid Energy & Crystals:

Pyramid Energy
ewater.com
You can place crystals in water for 24 hours then drink the water.

Clustered Water:

tetrahedron.org

Water Comparison Overviews:

superwater

Clustered Water:

Harmony H20

Hi Frequency Colloidal Mineral Water:

Chrysalis 8

Whole Tones, hexatonic Scales, etc


Whole Tone resources (Hexatonic)
hexachord. In music, not a chord in the true sense, but a group of six individual notes.

Introduced in the 11th century as a method of sight-singing,...
Guidonian hexachordal system, for music theory of the late middle ages and Renaissance
Vespers hymn for the feast of the Birth of John the Baptist. Some attribute its composition to the deft hand of Dom Guido of Arezzo, a monk and master of music who died in 1050. Others, including the _Liber Hymnarius_ , ascribe its composition, with reservations, to Paul the Deacon, which would push the date of composition to the eighth century

fasola.org/bibliography/hsub.html#142
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). See also hexachord for a medieval six-note scale that survives today in sacred harp singing.
hexachord: a system of six notes separated by whole- or half-step. Guido of Arezzo (ca. 991-d. after 1033) assigned solmization syllables to each note of the hexachord: ut re mi fa sol la . (The only half-step comes between mi and fa.) Guido had three types of hexachords:
1) the hard hexachord uses B natural and is built on G (G A B-natural C D E);
2) the natural hexachord starts on C (C D E F G A);
3) and the soft hexachord uses B flat and starts on F (F G A B-flat C D).
To sight-read a melody, one picked the appropriate hexachord; if the melody extended beyond the boundaries of the first hexachord, one mutated to the next with a pivot-note. Because all of the half-steps are specified by the syllables mi-fa (or fa-mi), the system could be used to sight-read an unknown melody.

Irish Harp

Bibliography:
-Guido of Arezzo. 1950. Epistola de ignoto cantu. In Source Readings in Music History, edited by Oliver Strunk, 121-25. New York: W. W. Norton. Orig. ca. 1030.
-Guido D'Arezzo - wrote Micologus (around 1030 AD) dealing with melodic motion
-Allaire, G. G. 1982. The Theory of Hexachords, Solmisation, and the Modal System.
-Musicological Studies and Documents (MSD), Vol. 24.
-Rochberg, George. The Hexachord and Its Relation to the Twelve-Tone Row. Bryn Mawr, PA: Theodore Presser Co., 1955. [Elizabeth Holland, 1997]
-Rochberg, George. "The Harmonic Tendency of the Hexachord." Journal of Music Theory 3 (1959): 208-230. [Elizabeth Holland, 1997]
-Lewin, David. "A Study of Hexachord Levels in Schoenberg's Violin Fantasy," PNM 6.1 (Fall-Winter 1967), 18-32.
-Lewin, David. "Re: The Intervallic Content of a Collection of Notes, Intervallic Relations Between a Collection of Notes and Its Complement: An Application to Schoenberg's Hexachordal Pieces," JMT 4 (1960), 98-101.
-Rothstein, William. "Linear Structure in the Twelve-Tone System," JMT 24.2 (Fall 1980), 129-165.
SUBJECTS: twelve tone, register, combinatoriality, set theory, hexachord, Schenker. NAMES: Schenker, Schoenberg, Martino.
COMPOSERS/WORKS: Babbitt, Composition for Four Instruments, Martino, Parisonatina

Al'Dodecafonia

Hexachord fantasie
Puer nobis nascitur

Sacred Harp FAQ

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