Chapter 27

The “Secret” Solfeggio Tones

A listing of six tones based on the original “vision” of Dr. Joseph Puleo (Naturopath
and Minister of the Gospel) was given in SONA in chapter twenty: “Listing: The Wave Front
Bioresonance Codes, 2008.”1 These six specific tunings are given as follows below.

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 The Basic Six Tones:

UT = 396 Hertz (a higher than normal G, or “Sol” in traditional Solfeggio), a

frequency said to “Liberate Guilt and Fear,” e.g., by Puleo and others.

RE = 417 Hertz (a good A-flat), said to “Undo Situations and Facilitate Change.”

MI = 528 Hertz (a higher than normal C, or “UT/DO” in traditional Solfeggio),

said to “Transform and Bring About Miracles.”
The frequency is used to supposedly “Repair DNA.”

FA = 639 Hertz (a good E, or “MI” in traditional Solfeggio), a frequency of

“Connecting and Relationships.”

SOL = 741 (halfway between F# and G), said to “Awaken Intuition.”

LA = 852 (a good A, or “La” in traditional Solfeggio),

“Returning to Spiritual Order.”

Popularity & Advocates

Puleo’s “Sacred Solfeggio” was derived as a “Bible Code,” found in the Book of
Numbers, that includes the 528 Hz tone — a “mathematical electromagnetic frequency code
for ‘miracles’ that experts say has already been shown to help repair DNA, the genetic blueprint
of life.”2 The latter claim is based on the writings of Dr. Leonard Horowitz3 who has stated
that “the third note, frequency 528, relates to the note MI on the scale and derives from the
phrase ‘MI-ra gestorum’ in Latin meaning ‘miracle.’ Stunningly, this is the exact frequency used
by genetic biochemists to repair broken DNA — the genetic blueprint upon which life is based!
MI - 528 Hz — relates to the crown chakra.”4
Online there must be hundreds of websites discussing the “Solfeggio” system initially
promoted by Puleo and Horowitz, yet there appear to be no direct references to the actual use
of 528 Hertz in biochemistry to repair the deoxyribonucleic acid helix. Not that I do not
believe it possible — being something of a “mystic” myself! However, to whatever extent
possible I like to back up the use of healing frequencies with scientific principles — or at least
with a few actual case studies that demonstrate their effectiveness.

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 What I have been able to discover online and in related texts regarding the “Solfeggio”
tones and DNA repair seems to involve either converting the frequencies and/or music
(Gregorian chant) into scalar waves that are applied to individuals (with no further analysis),
or assuming that quantum “tunneling” is taking place, and/or that the water molecules around
the particles are being/have been affected by the nano-energies. All of these technological
approaches would appear to have validity, and yet the outcomes and studies are conspicuously
absent.

Musicology

Most troubling are the myriad websites that insist these tones “heal” — on the
biological, psychological, and especially “spiritual” levels, and that they were used by the
ancients (without references), e.g., by Pythagoras, in Just tuning systems, even by the Essenes
— without so much as a mention of how it was the ancients actually determined these exact
three-digit tunings — and with great precision, evidently. In other words, I suspect that while
Pythagoreans may have used the tetrachord system of tuning and were able to create harmonic
modes — they certainly did not have access to digital sound analysis and computerized
frequency counters. So, in terms of accurate tuning, what system(s) did they use?
Musically, none of the Solfeggio websites or books evidence any knowledge of music
theory or acoustics in general and often put forth conflicting proofs — but always with an
abundance of supposed anecdotes from history. For example, a couple of sources talk about
David playing his four-string lyre for King Saul following battles in the field against the
Philistines. The young David is said to have tuned his instrument to the “Sacred Solfeggio”
tones, thereby healing Saul’s headaches. One has to wonder how the shepherd boy was able to
obtain such precise tunings while sitting in a tent somewhere in the Palestinian outback.

The Solfeggio Tones with tunings. Note that in terms of “Just Tuning,” if C = 528
Hertz (MI above) is considered the fundamental, then the G = 396 Hertz (UT) below is, in
fact, the proper lower sounding fourth. The fifth above, i.e., D (missing), would be 594
Hertz. However, within this acoustically resonating system, the rest of the tones are quite
“out of tune” within any known system of tuning.

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Pulse-Tone 3

As discussed at length in SONA, each tone within the Overtone Series may be
considered a “Base Pulse-Tone.” If the fundamental C is “2,” then G, the sounding fifth is “3.”
If G is the fundamental, then the sounding fifth would be D, a Pulse-Tone 9, or 3-squared. If
D is the fundamental, the sounding fifth would be A, Pulse-tone 27, or 3-cubed, etc.
Clearly, the Solfeggio frequencies are built upon increments of Pulse-Tone 3 via the
popular Kabbalistic process known as Gematria. The digits of each given frequency are added
together and produce either 3, 6, or 9 (1x3, 2x3, or 3x3) in an alternating series.

396 = 3 + 9 + 6 = 18 = 1+8 = 9
417 = 4 + 1 + 7 = 12 = 1 + 2 = 3
528 = 5 + 2 + 8 = 15 = 1 + 5 = 6
639 = 6 + 3 + 9 = 18 = 1 + 8 = 9
741 = 7 + 4 + 1 = 12 = 1 + 2 = 3
852 = 8 + 5 + 2 = 15 = 1 + 5 = 6

Numerous advocates of the Solfeggio tones have attempted to fill in the missing scale
tones — as well as adding lower and higher octaves. For example, a lower octave of 528 might
be 264 (a “3”), 132 (a “6”), 66 (a “3”), etc., while others have suggested that the tones grow
by increments of 111 Hz (a “3” and “peak” Beta-Endorphin trigger), and the following series
is often given.
63 + 111 = 174 (mixed-inversion of 417)
174 + 111 = 285 (mixed-inversion of 528)
285 + 111 = 396
396 + 111 = 507, but given as 417
417 + 111 = 528
528 + 111 = 639 (mixed-inversion of 396)
639 + 111 = 750, but given as 741
741 + 111 = 852 (mixed-inversion of 528)

and so on, using the digits 417, 147, 714, 1174, etc. as octave fundamentals.
Of course, such simple numerological derivations fail to take into account the naturally
sounding harmonic resonances of the tones as either scale members or overtones. In particular,
it has been pointed out that with many synthesizer keyboards the 417 frequency is not only

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difficult to sequence — but is so “inharmonic” as to be unpleasant. Perhaps this is why the tone
is said to “Undo Situations and Facilitate Change.” One has to wonder how that frequency may
have worked on King Saul’s headaches?

396 = 9 480 = 3 567 = 9 654 = 6 741 = 3 831 = 3

399 = 3 483 = 6 570 = 3 657 = 9 744 = 6 834 = 6
402 = 6 486 = 9 573 = 6 660 = 3 747 = 9 837 = 9
405 = 9 489 = 3 576 = 9 663 = 6 750 = 3 840 = 3
408 = 3 492 = 6 579 = 3 666 = 9 753 = 6 843 = 6
411 = 6 495 = 9 582 = 6 669 = 3 756 = 9 846 = 9
414 = 9 498 = 3 585 = 9 672 = 6 759 = 3 849 = 3
417 = 3 501 = 6 588 = 3 675 = 9 762 = 6
504 = 9 591 = 6 678 = 3 765 = 9 852 = 6
417 = 3 507 = 3 594 = 9 681 = 6 768 = 3
420 = 6 510 = 6 597 = 3 684 = 9 771 = 6
423 = 9 513 = 9 600 = 6 687 = 3 774 = 9
426 = 3 516 = 3 603 = 9 690 = 6 777 = 3
429 = 6 519 = 6 606 = 3 693 = 9 780 = 6
432 = 9 522 = 9 609 = 6 696 = 3 783 = 9
435 = 3 525 = 3 612 = 9 699 = 6 786 = 3
438 = 6 615 = 3 702 = 9 789 = 6
441 = 9 528 = 6 618 = 6 705 = 3 792 = 9
444 = 3 531 = 9 621 = 9 708 = 6 795 = 3
447 = 6 534 = 3 624 = 3 711 = 9 798 = 6
450 = 9 537 = 6 627 = 6 714 = 3 801 = 9
453 = 3 540 = 9 630 = 9 717 = 6 804 = 3
456 = 6 543 = 3 633 = 3 720 = 9 807 = 6
459 = 9 546 = 6 636 = 6 723 = 3 810 = 9
462 = 3 549 = 9 726 = 6 813 = 3
465 = 6 552 = 3 639 = 9 729 = 9 816 = 6
468 = 9 555 = 6 642 = 3 732 = 3 819 = 9
471 = 3 558 = 9 645 = 6 735 = 6 822 = 3
474 = 6 561 = 3 648 = 9 738 = 9 825 = 6
477 = 9 564 = 6 651 = 3 828 = 9

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 In the table above one may see how the series of Solfeggio Tones progresses from 396
Hz to the final 852 Hz in increments of “3” Hz.
If we wished to construct a scale, say, on Fundamental = 396 Hz, then a harmonic
series of tones could be chosen for that particular scale — a tuning quite in conformity with
traditional Just Tuning, which at the same time remains true to the higher Kabbalistic
numerology in place.
For example, 396 Hz being “G,” the minor second would be a ratio of approximately
15:16. Thus A-flat would be 396 times 1.0666 enc., or 422.4 Hz. In the progressive series
above we have 423 Hz, which is not only close, but far more pleasing to the ear than 417 Hz.
The Just diatonic major second, i.e., A-natural, would be the ratio of 8:9, or 445.5 Hz,
which in the 3-based series above would be midway between 444 and 447 Hz.
The Just minor third would be a ratio of 5:6, or B-flat = 475.2 Hz. Within the 3-based
series this would correspond with either 474 or 477 Hz.
The Major Third in Just Tuning is a ratio of 4:5, which would make B-natural 495 Hz.
This tuning IS found within the 3-based series above.
The Perfect Fourth in Just Tuning is the ratio 3:4, or 1.333 encyclical, which would
make the fourth above 396 Hz fundamental C = 528 Hz, which IS the suggested “DNA
Repair” tone given by Horowitz and others.
The “Diesis,” or Augmented Fourth, may be determined by using the semitone ratio
of 15:16, again, to 528 Hertz, yielding C-sharp = 563.2 Hz. Perhaps this would be 564 Hz
in the 3-based system above.
The Perfect Fifth is the ratio of 2:3, which would dictate D = 594 Hz — also found in
the 3-based series above.
The E-flat would be a semitone above D, i.e., 633.6 Hz. 633 Hz is one of the 3-based
series’ tones.
In Just Tuning, E-natural would be 668.25 Hz — 669 Hz in the 3-based series.
The Octave above G = 396 Hz would be 792 Hz — also on the list above. We can
work down from this tone to find F-sharp, or 742.5 Hz — 741 or 744 on the list above.
The F-natural would be 704 Hz, correlating with 705 Hz in the 3-based series.
Thus, altogether we may form a Just scale based upon 396 Hz — with all tones in
conformity with the 3-based Gematrian series. But, the question remains, “Is this really what
Pythagoras and the Essenes were doing?” I honestly think not.

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 396 = 9...........................................G
423 = 9...........................................A-flat
444 = 3 – 447 = 6.........................A
474 = 6 – 477 = 9.........................B-flat
495 = 9............................................B
528 = 6..........................................C
564 = 6...........................................C-sharp
594 = 9...........................................D
633 = 3...........................................E-flat
669 = 3...........................................E
705 = 3...........................................F
741 = 3 – 744 = 6........................F-sharp
792 = 9........................................G
Clearly, if one wishes to tune an instrument to the 3-based system of Gematria,
Solfeggio tones may be obtained with the proper numerological relationships as given by Puleo
and others via the system employed. Also clear is the fact that each tuning may be slightly
altered to obtain all “9s,” or “6s,” or “3s,” or even to have the scale tones alternate in 9, 6, and
3 sequences.
Each of the Solfeggio tones given may also be considered a “fundamental” — and other
Just Tuning scales developed upon each.

The Traditional Solfeggio System

Now, the Solfeggio scale of UT (DO), RE, MI, FA, SOL, LA developed by Guido
D’Arezzo in 10th-Century Italy — using the “Hymn to St. John the Baptizer” — follows an
ascending scale of tones (talked about in SONA),5 and these tones are step-wise in motion —
defining a particular mode, e.g., C, D, E, F, G, and A, i.e., that of the Greco-Roman “Lydian”
mode.

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 Taking either the movable or fixed vowel sounds for the tones, traditional Solfeggio
allows for vowel shapings that correspond with chromatic alterations of the syllables, DO
(UT), RE, MI, FA, SOL, LA, and SI (TI). For example, a DO-flat might be “DU,” or a RE-
sharp “RI,” a MI-flat “MU,” etc.

Ancient Languages

All such systematic alterations of tunings, vowel sounds, and “coloring” of scale tones
derive primarily from memories (mnemonics) of the original language on the planet,
sometimes referred to as “Uranta,” and as encoded in the sacred teachings of not only the
Kabbalah (e.g., of the Essenes) but of ancient Egypt (Hermetic teachings), China (Taoist),
India (Tantric Vedas), Oceania (Huna language), and, for example, the languages of the great
Native American civilizations — not to exclude other forgotten solar cultures.6
The purpose of vowel sounds and shapes, among those ancient adepts, was to resonate
certain parts of the Physical Body and the higher eight Force Centers of the Psychic Body and
to put one in contact with the higher four Force Centers of the “Spiritual Light Body.”
For example, shaped utterances may be utilized to resonate the upper palate in the
mouth, just below the third ventricle, wherein is located the Pineal Gland (Third Eye). Similar
vowels and tones may be felt in the Heart Center, the Solar Plexus, the Crown, the Base of the
Spine, etc. Having studied and employed such sounds for almost four decades myself, I fail to
comprehend how any of the “Solfeggio” tones, as advocated by Puleo and Horowitz, are able
to generate any of these subtle resonation patterns.

1. Page 216, “PULEO, Joseph (“Solfeggio” System).

2. Refer online to http://www.relfe.com/bible_codes.html

3. See online http://www.drleonardhorowitz.com/bio.html

4. See online http://music.vacau.com/2010/06/frequency-528-hz-dna-repair-no-music/

5. See pp. 98 – 99.

6. See, for example, the research of Rex Gilroy on the lost civilization of Australia, i.e., the “Uru”
solar culture dated to as early as 100,000 B.C.E., which spread from Australasia across Asia
and Europe, Oceania, to other continents.

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