Anti-Aging and Rejuvenation Properties of the Solfeggio TonesThe ancient Solfeggio Scale had been given to the Church in the Dark Ages for a spiritual purpose. The musical tones (usually in chants) were very powerful - they cut through limiting thought forms into the deeper levels of the subconscious, accessing insights that transcended conscious belief systems. The Church had originally commissioned over 150 Gregorian chants that utilized the tones. Because the frequencies of the tones facilitated vibrational healing states and higher awareness in the people, the Church in approximately 1050 A.D. purged or "lost" most of the chants. The instruments used to play music in these sacred tones were tuned on a scale called "Just Intonation." Beginning in the 16th Century, however, the tuning method began evolving into what is currently used today in the Western world, the "12-Tone Equal Temperament Method." In altering the tuning method, the frequencies of the musical notes were changed. Tonal frequencies affect the energy systems of our body, our health, and our well-being in much the same way that high-voltage transmitters, microwave ovens, and cell phones do. Naturally, the alteration of these frequencies weakened the spiritual impact of the Church's hymns. According to Professor Willi Apel in Healing Codes for the Biological Apocalypse, "Because the music held mathematical resonance, frequencies capable of spiritually inspiring mankind to be more 'God-like', the changes affected alterations in conceptual thought as well, further distancing humanity from God." In the book The Just Intonation Primer, author David B. Doty says that compositions keyed to the ancient "Just Intonation" method could be described in such terms as "clarity", "purity", "smoothness", and "stability." He further observed that music composed in the "12-Tone Equal Temperament" method sounds "rough", "restless" or "muddy" in comparison. Because there are limited musical combinations available to composers within the current tuning method, it essentially places music "in a box of limitation". Consequently, since all music in our contemporary world (from commercials to modern hymns and symphonies) has been composed in the "12-Tone Equal Temperament" method, they all have vibrational limits. As a result, the limited vibrational frequency of the tones of modern music can create situations such as "boxed in thinking", stuffed and suppressed emotions, and fear-based "lack" consciousness - all of which tend to manifest into physical symptoms of "dis-ease". Our modern music may be "music to your ears", but it was originally intended to be music for the soul, or the "secret ear," according to Dr. Hulse. Instruments calibrated to these "lost" frequencies naturally stimulate the vibration of expansive creativity, ease of problem solving, and holistic health. The reintroduction of these ancient Solfeggio tones and tuning method is a reflection of our spiritual need for attuning more closely with creative and life-giving energies.
The third note, MI orfrequency 528, is from the Latin phrase mi-ra gestorum, meaning "miracle." This is the exact frequency used by genetic biochemists in modern laboratory research to repair broken DNA, the genetic blueprint upon which life is based! There are several other tones, including 174, 205 and 963. These and the above six tones are blended in Trinfinity8's delivery into mesmerizing audio streams for cellular response and near-ecstatic states of consciousness.
Carl Sagan writes that most of our genetic information (about 97%) is unused DNA. He refers to this as "genetic gibberish," also referred to as "junk DNA." Is it possible that most of who we are still lies dormant in our human potential? In the old paradigm of religion, "potential" remained a mystery to the human mind, therefore we coined a mystical term, "Spirit." Spirit was something that was detached from who we were, something we didnt have and could only be gained through the systems of most religions. The old paradigm and its premise stated that we began as biology in the womb of our mothers. Teillard de Chardin tells us that we are not human beings trying to attain a spiritual experience, but, rather, we are spiritual beings having a human experience. This shift in perception causes a tremendous difference in the way we perceive ourselves in this third-dimensional time-space continuum.
For more than 200 years, researchers have been validating the connections of Sound and Vibrations on physical form. The first to make that connection was German scientist, Ernst Chladni, who, in 1787, detailed his research in his book, Discoveries Concerning the Theory of Music. In that pioneering work, he explained ways to make sound waves generate visible structures. He detailed how a violin bow, drawn at a right angle across a flat plate covered with sand, produces patterns and shapes. Today, those patterns and shapes are called Chaldni figures. In 1815, Mathematician Nathaniel Bowditch followed up on Chaldnis discoveries. He concluded that the conditions for these designs to arise were because the frequencies, or oscillations per second, were in whole number ratios to each other such as 1:1, 1:2, 1:3 and so on. The study of wave phenomena, the ability of sound to organize and repattern matter, is called Cymatics. According to John Beaulieu, in Music and Sound in the Healing Arts, "Form is the more elusive component of sound. Sound-forms can be seen by subjecting mediums such as sand, water, or clay to a continuous sound vibration." "Space is not empty. It is full, a plenum as opposed to a vacuum, and is the ground for the existence of everything, including ourselves. The universe is not separate from this cosmic sea of energy." David Bohm,Quantum Physicist Sound affects everything, including biological evolution. The evidence convincingly demonstrates that all natural phenomena is ultimately dependent on, if not entirely determined by, the frequencies of vibration. Physical healing could be aided or hindered by tones. Different frequencies influence genes, cells, and various structures in the body. In Molecules of Emotion, Candice Pert, Ph.D., writes, "
basically, [cell] receptors function as scanners ... They cluster in cellular membranes, waiting for the right ligand [smaller molecules than receptors] to come dancing along (diffusing) through the fluid surrounding each cell, and mount them binding with them ... to turn them on and get them motivated to vibrate a message into the cell. Binding of the ligand to the receptor is likened to two voices, striking the same note and producing a vibration that rings a doorbell to open the doorway to the cell."
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