Solfeggio frequencies
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Solfeggio frequencies
Didn't find similar topics with a search so sorry if it's already posted here, anyway, I was looking for spiritual relation to music / tones and stumbled upon this - take a look:
http://educate-yourself.org/pnl/solfeggio01dec06.shtml
And guess how many of these frequencies there are - well that might just be coincidence, but it's still quite interesting though.
You can also do a search in youtube for some meditational videos based on these frequencies / colors.
http://educate-yourself.org/pnl/solfeggio01dec06.shtml
And guess how many of these frequencies there are - well that might just be coincidence, but it's still quite interesting though.
You can also do a search in youtube for some meditational videos based on these frequencies / colors.
Re: Solfeggio frequencies
Here is one very intersting topic on this matter, 65 pages in total ..
http://forums.abrahadabra.com/showthrea ... 108&page=1
I'm at page 12 now and already a lot of ancient symbols, Rodin Coil etc. have been popping out. Definitely interesting and has got me a lot of new ideas to work on.
http://forums.abrahadabra.com/showthrea ... 108&page=1
I'm at page 12 now and already a lot of ancient symbols, Rodin Coil etc. have been popping out. Definitely interesting and has got me a lot of new ideas to work on.
Re: Solfeggio frequencies
Food for thought, just by browsing the first article I got the impression as if equivalent sound and light frequencies affect the psyche in a similar manner.
I got to find out how to play with different frequencies of sounds and notes...
There is certainly more to it than just that, there should be an inner relationship for example, that frequencies that reduce to 9 relate somehow with those that reduce to 3 which in turn relate to those that relate to 6, would an interrelated system of sounds like that give us a wider range of sounds to make music and play with?
I got to find out how to play with different frequencies of sounds and notes...
There is certainly more to it than just that, there should be an inner relationship for example, that frequencies that reduce to 9 relate somehow with those that reduce to 3 which in turn relate to those that relate to 6, would an interrelated system of sounds like that give us a wider range of sounds to make music and play with?
The essence of Consciousness, is the ability to Create, Process, Transmit and Receive Information Autonomously.
Re: Solfeggio frequencies
"why 528?" How to determine if these tones really can heal, a gdv test would be handy Theres already lot of different tuning fork sets, saying these specific tones heal - but does it? Or not?? What should be guidelines to test [time exposed, volume, distance from listener, previous/posthomous state of listener, time of day, humidity etc]...has it been done, and what were results? wonder if masaru emoto [there was that live h20 event but any experiments done that day?] or others tested water with these tones, versus ones slightly different [but with similar ratios], and with other ratios, or including differences in such-tuned timbre [ambience] of an instrument playing them, and resulting differences ...
Robanan, your idea of 3 tones - would be simpler. Which would you choose? Id like to toy around w/a tonal calculator java program and hear what the tone I get for the Hz...['perfect' pitch over here ]. Problems I found - the freqs Ive read about; 174 <-> 963 [174, 285, 396, 417 ..], pitches are assigned [how?] to different of these [but do not represent hz yet are called hz] and above the first three, from 417 up to 963 it sounds just like the overtone series [in A flat - if you go by 417 becoming 443.0something hz, a bit sharper than 440 concert tuning for 'A'. How is 443 a-flat, then??
The delta of 111 [why this was chosen?] btw each one, does not hold as a pattern, either, without altering the 369s, unless you replace the 9s in the 369, 396...with zeros [after you get to 3xx, 6xx, or 9xx], and get #s: 360, or 306, etc...and add 111 again until getting to 6xx, 9xx, etc. There's a cascading up by 1, between each adjacent same-placed decimal per group [1 74, 2 85, 3 96, 4 17, etc], just w/o the zeros...in this pitch scheme. Theres others....I saw one that uses ... 81 tones why idk really.
other problem: http://web.mac.com/len15/LOVE528/528_Tuner.html look at the 'perfect circle of sound' 528, and 417, converted into the tuner....same hz, but different notes?? seems theres a mistake there. My concern is what concepts are these based on I have yet to figure.
Overtone [singing] would include those last 6 of the 9 tones there are reported [a flat, c, e flat, g flat, a flat and b flat], and would not be limited to this key alone [of '528' said to be the note 'C' ]. I am still unsure as to how the solfeg # groups were arrived at and more importantly, converted to the pitches just mentioned. The normal overtone scale: http://en.wikipedia.org/wiki/Harmonic_s ... 28music%29
Robanan, your idea of 3 tones - would be simpler. Which would you choose? Id like to toy around w/a tonal calculator java program and hear what the tone I get for the Hz...['perfect' pitch over here ]. Problems I found - the freqs Ive read about; 174 <-> 963 [174, 285, 396, 417 ..], pitches are assigned [how?] to different of these [but do not represent hz yet are called hz] and above the first three, from 417 up to 963 it sounds just like the overtone series [in A flat - if you go by 417 becoming 443.0something hz, a bit sharper than 440 concert tuning for 'A'. How is 443 a-flat, then??
The delta of 111 [why this was chosen?] btw each one, does not hold as a pattern, either, without altering the 369s, unless you replace the 9s in the 369, 396...with zeros [after you get to 3xx, 6xx, or 9xx], and get #s: 360, or 306, etc...and add 111 again until getting to 6xx, 9xx, etc. There's a cascading up by 1, between each adjacent same-placed decimal per group [1 74, 2 85, 3 96, 4 17, etc], just w/o the zeros...in this pitch scheme. Theres others....I saw one that uses ... 81 tones why idk really.
other problem: http://web.mac.com/len15/LOVE528/528_Tuner.html look at the 'perfect circle of sound' 528, and 417, converted into the tuner....same hz, but different notes?? seems theres a mistake there. My concern is what concepts are these based on I have yet to figure.
Overtone [singing] would include those last 6 of the 9 tones there are reported [a flat, c, e flat, g flat, a flat and b flat], and would not be limited to this key alone [of '528' said to be the note 'C' ]. I am still unsure as to how the solfeg # groups were arrived at and more importantly, converted to the pitches just mentioned. The normal overtone scale: http://en.wikipedia.org/wiki/Harmonic_s ... 28music%29
Re: Solfeggio frequencies
Then we also have colors, I think RYB map is somehow also linked with the sound. There are for example people who can see colors when they hear certain notes etc.. I don't think it's a coincidence we have 12 note scale and 12 tone color maps..
http://en.wikipedia.org/wiki/File:Color_star-en.svg
http://www.soul-guidance.com/houseofthe ... hemy_5.htm
In the second link there is also description of the main elements and their nature.
http://en.wikipedia.org/wiki/RYB_color_model
Sulphur is Red, Mercury Blue and Yellow Salt, I believe..
http://en.wikipedia.org/wiki/File:Color_star-en.svg
http://www.soul-guidance.com/houseofthe ... hemy_5.htm
In the second link there is also description of the main elements and their nature.
http://en.wikipedia.org/wiki/RYB_color_model
Sulphur is Red, Mercury Blue and Yellow Salt, I believe..
Re: Solfeggio frequencies
This is quiet interesting and new to me and connect with the work of
Georges Lakhovsky
http://www.labofractal.net/interviewpt1yt.html
namasté
Yoko
Georges Lakhovsky
http://www.labofractal.net/interviewpt1yt.html
namasté
Yoko